SEAS ES 9 Nine superb jazz solos for tenor saxophone. Recorded by one of the greatest sax players of all time, ‘Authentic transcriptions by Steve Tayton. Include ‘Blood Count’, ‘Desafinado’, ‘Soul Eyes’ & ‘The Girl From Ipanema’fy) PELs 7 Cree Rey iki lero er Ed Pere ielele) Pz) Oe Mi) CA SRO MLE) 26 Wi caer a Ed One Note Samba (Samba De Uma Nota So} Kr nse 31 The Girl From Ipanema (Garota De Ipanema)Amorous Cat ‘Composers Eduardo Del Barrio, Herb Alpert & Ston Getz Recorded Los Angeles 1990 Source Stan Getz Apasionado A&M Records Inc. Los Angeles CD 395 297-2 ‘Musicions. Ston Getz [ts], Eddie del Barrio [synth], Mike Long {elec. pno & synth], Kenny Barron [acoustic pn}, Paulinho da Costa [perc], Jimmy Johnson {b], (Orcar Costro Neves, Michael Landau [ele. gis], Jeff Porcaro Id], George Bohanon & Reginald Young [tbs], Nolan Smith j, Rick Boptist & Oscar Brashear [pts], William Green {s], Tom Johnson [16] In this piece, Getz displays his skill in economising with his phrasing and leaving gops in his improvisation. This balances the listener's interest between the rhythm section and the sax solo. He maintains an uncompromising performance throughout the piece, weaving thoughtful melodic cond lyric ines, resisting funky blues rhythms until near the end ofthe piece. ‘At bar 85 he starts to build towards the end with some lovely honking low B's, rising lo high A's with ‘edded lip slurs. He finishes the piace with a cool rising scale - almost a whimsical afterthought, leaving the brass ond rhythm section to punctuate the ending, Corcovado Composer Antonio Carls Jobim Recorded New York 1963 Source Getz/Gilberto Verve 810 048-2 ‘Mosicions Stan Getz [Is], Astrud Gilberto vel, Antonio Corlos Jobim [pne], Jogo Gilberto [gtr/vel], Tommy Williams [b], Milton Banana [perc] Getz's solo floats over the exatic guitar and soft chythms. His individuality, especialy in the husky biting tone that contrasts with the tenderness of the song, giving a biter-swee! effect. His empathy withthe chord sequence shows his ea lo be attuned to the slightest nuances played on the guilor ‘accompaniment, especially from bors 19 to 24, before the final Il, V, 1, sequence that takes the solo out. Blood Count Composer Bill Strayhorn Recorded Copenhagen 1987 Source Stan Getz Anniversary EmArey Records Inc. Los Angeles CD 838 769-2 ‘Musicians. Stan Getz [ts], Kenny Barron [pno], Vietor Lewis [4] This Billy Strayhorn composition is « perfect vehicle for Getr’s expressive phrasing, Hounling and ‘evocative, he reaches into his soul, performing with the delicacy of « singer, using tonal textures, ‘which extend the ort of saxophone playing to a new level. The sustained notes, both at pp, or ff, should be emulated. Notice how he controls the vibrato on the first high C#, and how he manages to contol such a quiet nole. A superb, extended legato phrase over bors 13 and 14 should be proctsed. The some goes forthe stoccato passages ot bors 19 and 22. At bar 23, the slightly macho honking effect on the low notes contrasts with the return > to the main reflective theme,