JAZZ GIANTS '58

(CD & LP)giants
  1. Chocolate Sundae notes - Blues
  2. When Your Lover Has Gone notes - Gerry's Time
  3. Candy notes - Gerry's Time
  4. Ballad
    • Lush Life - Gerry's Time
    • Lullaby Of The Leaves
    • Makin' Whoopee
    • It Never Entered My Mind
  5. Woodyn' You notes - Gerry's Time
  6. Bread and Wine only on Gerry's Time & The Subterraneans
GERRY'S TIMEtime 1 - 5 =
  • Louis Bellson
  • Ray Brown
  • Harry Edison
  • Herb Ellis
  • Stan Getz
  • Gerry Mulligan
  • Oscar Peterson

July 31, 1957

STAN GETZ PLAYS BLUESgetz_blues 6 =
  • Dave Bailey
  • Buddy Clark
  • Bob Envoldsen
  • Art Farmer
  • Russ Freeman
  • Gerry Mulligan
  • Art Pepper
  • Bill Perkins

July, 1959

 LINER NOTES

One of the factors in the jazz scene today is the balancing or, if you like, the resloving of the different elements that make it up. In the growth of jazz during the period of the '40s and the early'50s, there was a violent movement from what was called swing to what was called at he beginnings "bop," and it was only the hardy persistence of a handful of giants that finally brought the picture unto clearer focus so that once again jazz lost some of its transient appearance and is seeking roots in a more permanent fashion.

This album displays the talents of the modern musicians in the company of one of the giants of yesterday, and those who have bridged both time periods. Gerry Mulligan and Stan Getz, whose roots basically lie in the swing era but who nevertheless have become leaders, Getz primarily as a soloist and Mulligan primarily as an arranger, in the modern school, combine with Harry Edison, whose reputation is that of one of the most swinging trumpeters in jazz. Edison, who left Basie in person years ago,has never left him in spirit and in style.

Herb Ellison guitar is also a product of the swing era and has grown with time and style changes. Ray Brown, unquestionably the premier bassist in jazz today has the same historical pattern, as have Louis Bellson and Oscar Peterson, who, respectively, on drums and piano complete the rhythm section. Bellson, particularly, had great training with the big bands, ranging from Harry James to Duke Ellington, and at the same time has kept up with the times as a leader of various small groups, employing the talents of different styles of jazz soloists.

This album is in the nature of a jam session, except that Mulligan deftly set head arrangements for the men so that there is more form and direction than in the usual improvised album.

Norman Granz

From GERRY'S TIME

Gerry Mulligan's list of credits is imposing. He is a composer, arranger, band leader, baritone saxophonist and pianist of great importance; and has been for some fifteen years. On this album, he is featured with artists of equally imposing stature. These recordings were selected from the MGM/Verve inactive catalogue and have not been available since their original release dates. The performances on this album have been chosen for their high artistry-they are a true reflection of the creative talents of Gerry Mulligan and the other great stars featured with him.

From STAN GET'S PLAYS BLUES

Stan Getz has long been the favorite soloist of jazz listeners who admire the lyrical spinning out of a melodic line, with its side excursions into new and provocative melodies. But there's another Stan, too. The Stan who can get into the blues and play them, hot or cool, with feeling and the real thrust of swing. He is at his top form when he can play the blues with other jazzmen of depth and perception. This album is a collection of just such recordings: jazzmen of maturity playing the music they know from the inside out. If the solos happen to be lovely and lyrical, that's the treatment they deserve. If they happen to drive and sting, that's also the blues. The thing is to just listen and let the blues happen. Like in real life.