The vast recorded legacy of legendary tenor saxophonist Stan Getz still astounds the jazz community. Here it is in words and music. From his earliest days with Jack Teagarden, Stan Kenton, Benny Goodman, and Woody Herman to the phenomenal smash hits “Desafinado” and “The Girl From Ipanema” (which sparked the 1960’s bossa nova craze), to his sublime later work with pianist Kenny Barron, Stan Getz continued to galvanize the musical world with his unparalleled technique, unmistakably unique sound, and gorgeous lyricism. Take a tour with us of this amazing 40-year jazz odyssey.
Many, many thanks to everyone who volunteered for The Chord Committee. Numerous excellent solutions have been proposed. In order to avoid discord, I have combined all of your suggestions into one beautiful, majestic chord. In hopes you will find the solution acceptable, the chart and recording are presented here for your approval. (Click on “continue reading” to view the complete chart.)
Brazilian bossa nova’s introduction to the U.S. thanks to composers Luiz Bonfá (Samba de Orfeu and Manhã de Carnaval), Antônio Carlos Jobim (Desafinado, Girl from Ipanema, Corcovado, etc.), and instrumentalists João Gilberto and Stan Getz literally transformed the jazz landscape overnight.
For the past 50 years, casual straight-ahead jazz gigs have invariably featured at least one bossa per set.
Familiarity with the following exercise will greatly enhance your facility with the melodic and harmonic nuances found in these wonderful compositions. Here is the basic lick:
Here is a recording of the lick played in all 12 keys:
Develop your ear to flawlessly play passages such as this one in all 12 keys by downloading and working through “New Ears Resolution.”
Jimmy Heath is another master with whom I hope to become more familiar.
Driving into a glorious autumn dawn on the way to church Sunday, I was listening to “Picture of Heath” and was particularly struck by the third chorus of Jimmy’s soprano solo on “All Members.”
I don’t usually go to the trouble of formally transcribing solos, since there are so many fine transcriptions available on-line. But Jimmy’s third chorus really knocked me out, and i felt compelled to examine the strategy, structure, and logic of this amazing 12-bar chorus. Continue reading “Dig Jimmy Heath!”→