This double CD finds tenor-saxophonist Stan Getz in an unusual setting, playing in a quartet with organist Eddy Louise, guitarist Rene Thomas and drummer Bernard Lubat. Together they perform advanced improvisations on five Louise songs, two by Thomas, Albert Mangelsdorff's "Mona" and just one standard, "Invitation." The music is often fascinating and really challenges Getz.
- Scott Yanow (All Music Guide)
========= from the cover ==========
Letter to Jean Louis' Ginibre Editor of Jazz and Lui Magazines
Dear Jean Louis,
Here is some further background information regarding the conception of this album. We had come to Paris in June, 1970 to watch the tennis championships, and, as a criminal who always returns to the scene of his crime, I went to the old Blue Note where I had played thrice annually from 1959-61. I had been told that jazz in France was dead, and; sure enough the club was almost empty. I walked in and my mouth fell open. I heard some hard core swinging jazz, everybody was dipping in, really taking their piece. There was Eddy Louiss on organ, Rene Thomas on guitar and Bernard Lubat on the drums. The Belgian guitarist, Rene Thomas, I had known many years ago when he lived in Canada. As you know Eddy is from Martinique, and Bernard from Paris.
I returned to Malaga for the rest of the year, but that foot-tapping music kept repeating in my ears. I found it sad that crowds will only turn out for an American "name artist" regardless of the quality of the music. I had always felt a rapport and affection for Rene, disciple and heir to Django Reinhardt's special legacy, a gentle soul mixed with absent minded poetry and earthy gypsy fire. Eddy was something else again, a volcano of power and talent ready to erupt if the right earthquake could ignite him. Bernard, a prize-winning classical percussionist from the Paris Conservatory might just be flexible enough to develop into the right ingredient for the music taking shape in my mind. The American premise that European Jazz Musicians cannot swing might have been true in the past. The fact is that these guys disproved that old premise after a few days of unannounced rehearsal engagement at the Chat Qui Peche.
These musicians deserved a better fate than a slow death before disinterested Parisians. As you know I. do not have the reputation for being an indulgent critic - but what happened musically was unique, and suddenly all Paris caught on that something tremendously exciting and new was going on. I decided then and there to present these musicians to the rest of the world.
Stan. Malaga, Spain May 1971.
The nights at the Chat Qui Peche were privileged moments. Stan, who has always quietly been a major musical influence and pace-maker, never seems to sacrifice beauty and intelligence in the name of progress. His group and material again knocked people out of their consciousness of category and age. Rock oriented kids were elbowing with classical musicians, business men with artists. The music was new and exhilarating unlike anything we had ever heard before. Getz has the four virtues of a great musician: taste, irreverance, individuality and courage.
This double album, recorded live during a record breaking three-week engagement at the Ronnie Scott Club in London, will enable jazz fans of the whole world to meet again with one of the few giants left in jazz. And we listeners realize who Stan Getz really is today: a great man of music with inexhaustible imagination, indefatigable enthusiasm, inextinguishable humor, indisputable taste and unique originality. The king of a dynasty. A dynasty of princes who have replaced in their veins the blue blood with blues blood.
Jean Louis Ginibre (Paris, France, May 1971)
"Getz the greatest"
Jazz people are just as susceptible as anybody else to the ancient fraud that the golden age ended the day before yesterday, and will therefore be stupified by what they find if they take the trouble to drop in at Ronnie Scott's Club between now and next Sunday night. Having dropped in, they will certainly be in no great hurry to drop out again, because they will have the privilege of hearing not just one of the great jazz masters of all time, but a jazz master who is not long in the tooth and style. It is doubtful if Stan Getz has ever played better in his life. When we consider this in the light of his past achievements it becomes a little clearer what kind of jazz is being created in London at this moment, Getz's genius has flowered again at a particularly significant moment in jazz development - when form is laughed at and any kind of creative discipline is suspected of being passionless. Whatever his theories are worth - and he is the shrewdest of musical thinkers there is no question of his executive greatness.
-Benny Green (The Observer, London 14 March 1971)
Cover note for Stan Getz double album "Dynasty"
On a wet miserable day in wartime England, I was sitting in an O.P. Sherman Tank -operating a radio set - the Regiment had stopped for tea during this lull in training, I tried to get the B.B.C. Home Service just to see if World War II was over; instead I hit on Allied Forces Network - and I was hit by the sound of a tenor player, who was blowing up the most beautiful sound storm I'd ever heard. So far I'd heard the new sound of Lester Young but this (with apologies to Lester) was three cuts above. First the sheer overwhelming quality, warmth and vibrancy of the tone. It was so good, he could just play the same note for thirty-two bars and still satisfy you! but it had all the emotional depth of Hawkins and Chu Berry, the straight ahead drive of Eddie Miller and Bud Freeman, the bite of Charlie Barnet, but on top of this was the new identity of a superior musical intellect. It seemed he'd taken the tenor out of the working and middle class bracket and crossed over into the aristocracy but still retaining its jazz antecedence; no doubt at that time he was influenced by Lester Young (credit where it's due man!), as I say I listened - at the end of the record the announcer said "Benny Goodman and his band" - but no mention of the soloist: I wrote to the station and they said it was a man called Stan Getz. Who in hell was Stan Getz? I'11 tell you, Stan Getz was the first man to actually get me "hooked" on one particular musician - I almost had to get him on prescription from a doctor - "I want to play these Getz records three times a day after meals" Since that distant day Stan has become world famous.
I won't go into those ridiculous unnecessary eulogies of each track that some sleeves indulge in - after all you're about to play them and decide the merits yourself; instead I will add a note as to Stan Getz himself If you are at all a sensitive person you will detect in his playing a sadness, perhaps it was the sudden death of his father in the midst of the recording sessions coupled with an inherent sadness, a feeling of suffering, which is released or rather aborted from his being by unending flurries, suspensions and cascades of notes which get into a trinity of feeling, intellect and technique. One feels, that had he not got this superb musical gift, he might become suicidal. "Of suffering, beauty is born"; I feel this might be the essence of Stan Getz. Like Van Gogh - he suffers, but my God look what he gave us.
Enjoy the record - it's meant to be - if perchance you don't enjoy it, find a convenient cliff of say six hundred feet in height Jump off it!
-Spike Milligan (London, May 1971)