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Jazz - Publicado el 2 de septiembre de 2010 | Fresh Sound Records

Premios 4F de Télérama - 4 étoiles Jazzman
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Jazz - Publicado el 1 de enero de 1964 | Verve

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Jazz - Publicado el 1 de enero de 1962 | Verve Reissues

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Jazz - Publicado el 1 de enero de 1998 | Verve

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Jazz - Publicado el 1 de enero de 1958 | Verve

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Jazz - Publicado el 1 de enero de 2011 | Verve

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Jazz - Publicado el 1 de enero de 1964 | Verve

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Jazz - Publicado el 13 de febrero de 1962 | Verve Reissues

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Jazz - Publicado el 1 de enero de 1966 | Verve

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Jazz - Publicado el 1 de enero de 1963 | Verve Reissues

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Here's some more bossa nova from Stan Getz when the bloom was still on the first Brazilian boom. This time, however, on his third such album, Getz relies mostly upon native Brazilians for his backing. Thus, the soft-focused grooves are considerably more attuned to what was actually coming out of Brazil at the time. Two bona fide giants, Antonio Carlos Jobim and Luiz Bonfá (who gets co-billing), provide the guitars and all of the material, and Maria Toledo contributes an occasional throaty vocal. Getz injects more high-wailing passages into his intuitive affinity for the groove, even going for some fast bop on "Un Abraco No Getz," and Bonfá takes adept care of the guitar solos against Jobim's rock-steady rhythm. Clearly Jobim's songwriting contributions -- "So Danco Samba," "How Insensitive," and "O Morro Nao Tem Vez" -- would have the longest shelf life, and though the album didn't sell as well as its two predecessors, it certainly helped break these tunes into the permanent jazz repertoire. Avid bossa nova fans will certainly treasure this album for the lesser-known Bonfá tunes. © Richard S. Ginell /TiVo
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Jazz - Publicado el 3 de mayo de 2019 | Verve Reissues

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Verve Records have released a live album, recorded on November 26th 1961 at New York’s famous jazz club, Village Gate. On stage are Stan Getz and his new quartet comprising of pianist Steve Kuhn, double bass player John Neves and drummer Roy Haynes. Although the recordings were set aside after that night and had ended up in the record company’s archives, 58 years later, they have now re-emerged with flawless sound. Getz at the Gate understandably arouses much interest as the saxophonist’s artistic direction throughout the entirety of the 2 hours 20-minute concert is one that he did not pursue thereafter. Getz formed this new group having just returned from Europe and its more modern and aggressive sound was most likely influenced by John Coltrane’s quartet in which Kuhn played. But in 1962, his album with guitarist Charlie Byrd was a hit, sparking the trend for bossa nova-infused jazz and propelling Getz not only down other stylistic paths but also to the top of the charts with numerous albums with Luiz Bonfá, João Gilberto, Antonio Carlos Jobim and Astrud Gilberto. Getz at the Gate is quite clearly light years away from this exoticism but is still far from the Getz bop, cool or West Coast jazz from his early days. Here, in a highly effective post-bop style, he revisits tracks played during the 1950s such as When The Sun Comes Out, Like Someone in Love and even Spring Can Really Hang You Up The Most and Roy Haynes’ drumming ties everything together brilliantly, as always. Of course, the four men also show their admiration for Coltrane by taking on his legendary Impressions. In short - a previously unreleased and utterly thrilling concert. © Marc Zisman/Qobuz
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Jazz - Publicado el 1 de enero de 1964 | Verve

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Jazz - Publicado el 7 de octubre de 1962 | Verve Reissues

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Jazz - Publicado el 25 de septiembre de 2003 | BDMUSIC

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La calidez del sonido del saxofón de Stan Getz es única en la historia del jazz. Su enorme expresividad, con ese arco iris de matices que van desde la sensibilidad más tierna hasta la más asertiva virilidad, nunca han abandonado a este virtuoso del jazz de la Costa Oeste que siempre eligió bien a sus acompañantes. Como en este álbum doble, que reúne temas grabados entre 1948 y 1952, cuando sólo tenía veinte años. Junto a Getz, encontramos a maestros como el guitarrista Jimmy Raney, los pianistas Duke Jordan, Al Haig y Horace Silver o los bajistas Tommy Potter y Percy Heath que dibujan los contornos de un naciente post-bop. También podemos sentir que empieza a afirmarse cada vez más Lester Yong. En un estilo menos voluble que el extravagante be-bop, este estilo tan fresco brilla de forma única cuando aborda un tema como Thanks to the Memory, con una desbordante sensualidad. No es de extrañar que Getz fuera un artista inmensamente popular, mucho más allá del círculo de aficionados al jazz... © Marc Zisman/Qobuz
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Jazz - Publicado el 27 de enero de 2006 | Verve Reissues

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Jazz - Publicado el 1 de enero de 1963 | Verve Reissues

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Three weeks after completing his meeting with Luiz Bonfá and only two days after the epochal Getz/Gilberto sessions, Stan Getz was back in the studio recording more bossa nova. Producer Creed Taylor was obviously striking while the iron was hot, getting in as many Brazilian sessions as he could, yet the quality of the music-making remained consistently marvelous. Continuing his practice of running through one star guitarist after another, this time Getz has Laurindo Almeida as the designated rhythm man, featured composer, and solo foil. The rhythm section is an authentically swinging mixture of American sidemen (including Steve Kuhn on piano and George Duvivier on bass) and Brazilian percussionists. Almeida didn't like to improvise, so his solos stay close to the tunes, inflected with a perfectly matched feeling for the groove along with classical poise. Jobim's "Outra Vez" is a particularly lovely example of Getz's freedom and effortless lyricism contrasted against Almeida's anchored embroidering. Sessions like these might have been seen as cashing in on the boom at the time, yet in the long view, one should be thankful that these musicians were recording so much cherishable material. © Richard S. Ginell /TiVo
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Jazz - Publicado el 17 de enero de 1964 | Verve

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Jazz - Publicado el 1 de enero de 1963 | Verve Reissues

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Here's some more bossa nova from Stan Getz when the bloom was still on the first Brazilian boom. This time, however, on his third such album, Getz relies mostly upon native Brazilians for his backing. Thus, the soft-focused grooves are considerably more attuned to what was actually coming out of Brazil at the time. Two bona fide giants, Antonio Carlos Jobim and Luiz Bonfá (who gets co-billing), provide the guitars and all of the material, and Maria Toledo contributes an occasional throaty vocal. Getz injects more high-wailing passages into his intuitive affinity for the groove, even going for some fast bop on "Un Abraco No Getz," and Bonfá takes adept care of the guitar solos against Jobim's rock-steady rhythm. Clearly Jobim's songwriting contributions -- "So Danco Samba," "How Insensitive," and "O Morro Nao Tem Vez" -- would have the longest shelf life, and though the album didn't sell as well as its two predecessors, it certainly helped break these tunes into the permanent jazz repertoire. Avid bossa nova fans will certainly treasure this album for the lesser-known Bonfá tunes. © Richard S. Ginell /TiVo
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Jazz - Publicado el 1 de enero de 2003 | A&M Jazz

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Jazz - Publicado el 1 de marzo de 1973 | Verve Reissues