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After coming to prominence in big bands in the late 1940s, Stan Getz struck out on his own, as a leader of small groups towards the end of the decade. In this album, taken from three recording sessions in 1949 and 1950, there’s plenty of evidence of the smooth sound and cool, laid-back style for which his work on the tenor saxophone had already become known.

In each session, the quartet is made up by a piano, bass and drums backing Getz. Roy Haynes on drums and Percy Heath on bass became the most famous of the assortment of sidemen, followed by Al Haig on piano, and all of them maintain high standards in playing their parts.

In the case of the pianists, the part usually entails, taking turns with Getz in the solo improvisations. The bassists and drummers do manage to make their presence felt , most often in the background but with an occasional solo.

Almost all the pieces are medium-paced or slow, based on well-known pop ballads and they afford Getz an opportunity to sound his lyrical best.

The only caveat I’d like to enter concerns the audio quality of the recording. It’s a mercy that there’s no crackle, but the sound is not sharp and contains some mild hiss.

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