Getz was born in Philadelphia 1927, and like many other saxophone players of his time, began his professional career with big bands. He was briefly with Jack Tiegarden, a year with Stan Kenton, then with Benny Goodman, before moving to Woody Herman's band where he made his first real impact on the jazz scene with two justly celebrated solos — "Early Autumn" and the equally historic "Four Brothers". Along with fellow Lester Young disciples Al Cohn, Zoot Sims, Brew Moore and Allen Eager, Getz brought a cool approach to his music, and he became a seminal figure of the Bebop Era. His playing was at once melodic, flowing and uncluttered, while an air of relaxation pervaded his recordings. However, the three-minute limitations of the 78 r.p.m. record which had prevailed since he 1920's had come to an end, and it therefore came as an enormous surprise (and a source of great pleasure, a shock even) when, with the advent of long-play records one could hear a major jazz soloist stretching out at a concert or during a "normal" working engagement. Such is the case in the enclosed album where we are fortunate to have Getz caught in full flight at a Carnegie Hall concert in November 1952 — almost exactly a year to the day when a live recording of a Stan Getz quintet had been made at Storyville Club in Boston. This latter album caused quite a stir in that it clearly demonstrated tha Getz wasn't the quiet cool player we'd been led to believe, and our first awareness of his development as an attacking rhythmic player, most of the tracks being up-tempo.Getz was actually changing his style an at this period, to a more extrovert and muscular approach, at times "hot", but guitarist Jimmy Raney had no problem in adjusting to this new approach ; in fact he'd been moving in the same direction himself. Duke Jordan, for his part, had been associated with Charlie Parker for a considerable time, so was quite used to breaking new musical ground — while bassist Bil Crow and drummer Frank Isola were to become virtually Getz's "regular" rhythm section over a long period still to come [...].
Moreover, between Getz and guitarist Jimmy Raney there existed an excellent rapport, and the two men and their instruments blended well together when interweaving their contrapuntal variations. It is not surprising therefore that Raney, with his own quiet and unhurried approach, was the longest-serving member of the Stan Getz combos of this period, and an integral part of any Getz quintet at the beginning of the 50's. The piano bass and drums may have changed from time to time, but whenever there was a guitar it was always Raney. He had a subtle, low-keyed approach, and like Getz, always seemed relaxed even at very fast tempos...
Mike Baillie (from the booklet)
At Carnegie Hall
1 There Will Never Be Another You (Warren, Gordon) 6:38
2 Stike Up the Band (Gershwin, Gershwin) 6:40
3 Sweetie Pie (Getz, Loeb) 6:20
4 Moonlight in Vermont (Suessdorf, Blackburn) 2:59
5 Stella By Starlight (Young, Washington) 5:25
6 Cherokee (Noble) 7:05
7 Always (Berlin) 3:50
8 Sweet Miss (Winding) 4:15
9 Long Island Sound (Getz) 2:42
Stan Getz - ts
Duke Jordan - p
Jimmy Raney - g
Bill Crow - b
Frank Isola - dr
Recorded live at Carnegie Hall, New York City ; November 14, 1952.
Stan Getz - ts
Kai Winding - tb
Al Haig - p
Tommy Potter - b
Roy Haynes - dr
Recorded live at Carnegie Hall, New York City ; December 24, 1949.