Getz, Stan. (1927–1991). Group of Original Photographs of the Stan Getz Quintet. Group of 11 original 1951 photographs of the Stan Getz Quintet, captured in performance by photographer James N. Seidelle (1925–2018). Shown are Stan Getz, guitarist Jimmy Rainey, pianist Horace Silver, bassist Teddy Kotick, drummer Walter Bolden, and singer Joan Shaw. Fine. Each 8 x 10 inches (20.7 x 25.5 cm).
Based on the background, we have established that the present photographs were taken during a run of performances at Lindsay's Sky Bar in Cleveland, OH in April 1951. The venue played host to many important jazz performers, including Charlie Parker, Roy Eldridge, Stan Getz, and Johnny Hodges.
"After gaining initial fame with Woody Herman's band, Stan Getz went solo in the late '40s, hitting his zenith during the bossa nova craze of the early '60s. Before scoring with "Girl From Ipanema," though, Getz established himself with a slew of fine dates for Prestige and Verve [...]. At the time, Getz's cool, Lester Young-inspired sound was becoming more distinct and harmonically varied, featuring the beautifully mellifluous tone he would soon turn into his trademark." (Stephen Cook, AllMusic.com.)
Getz, Stan. (1927–1991). Group of Original Photographs of the Stan Getz Quintet. Group of 11 original 1951 photographs of the Stan Getz Quintet, captured in performance by photographer James N. Seidelle (1925–2018). Shown are Stan Getz, guitarist Jimmy Rainey, pianist Horace Silver, bassist Teddy Kotick, drummer Walter Bolden, and singer Joan Shaw. Fine. Each 8 x 10 inches (20.7 x 25.5 cm).
Based on the background, we have established that the present photographs were taken during a run of performances at Lindsay's Sky Bar in Cleveland, OH in April 1951. The venue played host to many important jazz performers, including Charlie Parker, Roy Eldridge, Stan Getz, and Johnny Hodges.
"After gaining initial fame with Woody Herman's band, Stan Getz went solo in the late '40s, hitting his zenith during the bossa nova craze of the early '60s. Before scoring with "Girl From Ipanema," though, Getz established himself with a slew of fine dates for Prestige and Verve [...]. At the time, Getz's cool, Lester Young-inspired sound was becoming more distinct and harmonically varied, featuring the beautifully mellifluous tone he would soon turn into his trademark." (Stephen Cook, AllMusic.com.)