Object Details
- Artist
- Herman Leonard, 1923 - 2010
- Sitter
- Charles Thomas Potter, 21 Sep 1918 - Mar 1988
- Stan Getz, 2 Feb 1927 - 6 Jun 1991
- Allan Warren Haig, 22 Jul 1924 - 16 Nov 1982
- Exhibition Label
- A leading exponent and popularizer of cool jazz in the 1950s, tenor saxophonist Stan Getz (center) initially played with some of the swing era’s top bands, including those led by Jack Teagarden, Stan Kenton, and Benny Goodman. Getz began distancing himself from swing in the late 1940s, developing a saxophone quartet within Woody Herman’s Second Herd band that gave the larger ensemble its distinctive sound. After his solos on “Early Autumn” (1948) gained him a national following, Getz created his own group in 1949, borrowing members of Charlie Parker’s rhythm section such as double bassist Tommy Potter (left) and pianist Al Haig (right) when they were not working with Parker. A superbly melodic soloist, Getz embraced an “artfully relaxed” performance style that epitomized cool jazz. When enthusiasm for that genre waned in the 1960s, he reenergized his career by initiating a fusion of American jazz and Brazilian bossa nova.
- Uno de los principales exponentes y promotores del cool jazz en la década de 1950 fue el saxofonista tenor Stan Getz (centro). En sus comienzos tocó con importantes bandas de la era del swing, entre ellas las de Jack Teagarden, Stan Kenton y Benny Goodman. No obstante, para fines de la década de 1940 empezó a distanciarse del swing y desarrolló un cuarteto de saxofones dentro de la banda Second Herd, de Woody Herman, que dio a esta su sonido distintivo. Cuando sus solos en “Early Autumn” (1948) le ganaron una fanaticada a nivel nacional, Getz fundó su propio grupo (1949) con músicos de la sección rítmica de Charlie Parker, como el contrabajista Tommy Potter (izquierda) y el pianista Al Haig (derecha), actuando cuando no tenían shows con Parker. Dotado de un magnífico sentido melódico, Getz adoptó un estilo “refinadamente relajado” que era el epítome del cool jazz. Cuando el entusiasmo por este género se debilitó, hacia los años sesenta, Getz revitalizó su carrera inaugurando la fusión del jazz americano con la bossa nova brasileña.
- Credit Line
- National Portrait Gallery, Smithsonian Institution
- 1949 (printed 1998)
- Object number
- NPG.2014.111.11
- Restrictions & Rights
- Usage conditions apply
- Copyright
- © Herman Leonard Photography LLC
- Type
- Photograph
- Medium
- Selenium-toned gelatin silver print
- Dimensions
- Image: 37.6 × 30.4cm (14 13/16 × 11 15/16")
- Sheet: 50.4 × 40.6cm (19 13/16 × 16")
- Frame: 71.8 × 56.5 × 3.8 cm (28 1/4 × 22 1/4 × 1 1/2")
- See more items in
- National Portrait Gallery Collection
- Location
- Currently not on view
- National Portrait Gallery
- Topic
- Interior
- Music\Musical instrument\Piano
- Equipment\Sound Devices\Microphone
- Music\Musical instrument\Saxophone
- Music\Musical instrument\Bass
- Stan Getz: Male
- Stan Getz: Arts and Culture\Performing Arts\Music\Musician\Composer
- Stan Getz: Arts and Culture\Performing Arts\Music\Musician\Horn player\Saxophonist
- Stan Getz: Arts and Culture\Performing Arts\Music\Musician\Jazz musician
- Allan Warren Haig: Male
- Allan Warren Haig: Arts and Culture\Performing Arts\Music\Musician\Pianist
- Charles Thomas Potter: Male
- Charles Thomas Potter: Arts and Culture\Performing Arts\Music\Musician\Bass
- Portrait
- Record ID
- npg_NPG.2014.111.11
- GUID (Link to Original Record)
- http://n2t.net/ark:/65665/sm47b917df0-4c5e-48f0-97d1-3676a93f9f93
