Diane Schuur (with Stan Getz): A Time for Love


A Time for Love


Diane Schuur (vocals) and Stan Getz (tenor sax)


Timeless (GRP 9540)

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Diane Schuur (vocals), Stan Getz (tenor sax),

Chuck Findley (trumpet), Warren Luening (trumpet); Jack Nimitz, Bill Perkins, Bill Reichenbach, Tom Scott (reeds); Dave Grusin, Mike Lang (keyboards); Lee Ritenour (guitar) Chuck Domanico (bass) Steve Schaefer (drums) Larry Bunker (percussion), with strings


Arranged by Jeremy Lubbock. Composed by Johnny Mandel & Paul Francis Webster


Recorded: Hollywood, October 12, 1986


Rating: 94/100 (learn more)

Stan Getz prided himself on his skill as a talent scout—a role spurred both by his genuine interest in new sounds and stylists as well as his need to compensate for his personal indifference to composing, which forced him to seek out others who could provide him with fresh material for his interpretation. Over the decades, he helped advance the careers of Horace Silver, Chick Corea, Astrud Gilberto, Joćo Gilberto, Antonio Carlos Jobim, Gary Burton and others, and they in turn inspired him to some of the defining moments in his oeuvre. Late in life, he continued to look for emerging talent, and was especially excited by Diane Schuur, a vocalist whom he first heard at the Monterey Jazz Festival in 1979 when she sat in with Dizzy and Stan and received a standing ovation from the audience. In the following months, Getz found opportunities for Schuur to perform with his band, and in 1982 brought the vocalist with him to the White House—an event which led to Schuur's signing with the GRP label, and her subsequent Grammy awards.

Getz joins Schuur on this track from her Timeless album, and his every contribution is perfectly matched to the emotional temper of the song, from his plaintive solo introduction to his moving solo to his austere coda. "Ballads intrigue me," Getz once told a journalist. "I let the mood do what it wants. I never intend to do anything, it just comes as the piece dictates." His obbligato accompaniment behind Schuur's vocal inspires comparisons with Getz's role model Lester Young, whose sax lines underscoring Billie Holiday's classic recordings are the gold standard by which all other such musical partnerships are measured. The singer, for her part, is more controlled than usual, and mostly avoids the shrillness that sometimes mars her work, except for a unfortunate lapse at the 4:11 mark. The arrangement is sweet without becoming saccharine, and the accompaniment is handled thoughtfully. But Getz is so creative, from start to finish, that he become de facto leader of the date.

Reviewer: Ted Gioia

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