His parents were Ukrainian Jews who immigrated from Kyiv city, Ukraine in 1903. The family later moved to New York City for better jobs. Stan worked hard in school receiving straight "A's" on average and finished 6th grade close to the top of his class. Stan's major interest was in musical instruments, and he felt a need to play every instrument in his sight. He played a number of instruments before his father bought him his first saxophone at the age of 13. Even though his father also got him a clarinet, Stan instantly fell in love with the saxophone and began practicing 8 hours a day. In 1941, he was accepted into the All City High School Orchestra of New York City. This gave Stan a chance to receive a private, free tutor from the New York Philharmonic, Simon Kovar - a bassoon player. He also began to spend more time playing the saxophone. He eventually dropped out of school in order to pursue his musical career, but was later sent back to the classroom by the school system’s truancy officers.
In 1943, he was accepted into Jack Teagarden's band, and because of his youth he became Teagarden's ward. Getz also played along with Nat King Cole and Lionel Hampton. After playing for Stan Kenton, Jimmy Dorsey, and Benny Goodman, Getz was a soloist with Woody Herman from 1947 to 1949 in 'The Second Herd' and he first gained wide attention as one of the band's saxophonists, who were known collectively as 'The Four Brothers', the others being Serge Chaloff, Zoot Sims and Herbie Steward. With Herman, he had a hit with "Early Autumn" and after Getz left 'The Second Herd' he was able to launch his solo career. He would be the leader on almost all of his recording sessions after 1950.
During the early '50s, Getz broke away from the Lester Young style to form his own musical identity and he was soon among the most popular of all jazzmen. He discovered Horace Silver in 1950 and used him in his quartet for several months. After touring Sweden in 1951, he formed an exciting quintet that co-featured guitarist Jimmy Raney; their interplay on up-tempo tunes and tonal blend on ballads was quite memorable. Getz's playing helped Johnny Smith have a hit in "Moonlight in Vermont," during 1953-1954 Bob Brookmeyer made his group a quintet and, despite some drug problems during the decade, Getz was a constant poll winner. After spending 1958-1960 in Europe, the tenorman returned to the U.S. and recorded his personal favorite album, Focus, with arranger Eddie Sauter's Orchestra.
Getz became a central figure in introducing bossa nova music to the U.S. audience. Teaming with guitarist Charlie Byrd, who had just returned from a U.S. State Department tour of Brazil, Getz recorded Jazz Samba in 1962 and it became a hit. The title track was an adaptation of Antonio Carlos Jobim's "One Note Samba". Getz won the Grammy for Best Jazz Performance of 1963 for "Desafinado". As a follow-up, Getz recorded Jazz Samba Encore! with one of the originators of bossa nova, Brazilian guitarist Luiz Bonfa.
He then recorded the album Getz/Gilberto with Tom Jobim, João Gilberto and his wife, Astrud Gilberto. Their "The Girl from Ipanema" won a Grammy Award. The piece became one of the most well-known latin jazz cuts of all time. Getz/Gilberto won two Grammys (Best Album and Best Single), besting The Beatles' A Hard Day's Night, a victory for Bossa Nova and Brazilian jazz. A live album, Getz/Gilberto Vol. 2, followed, as did Getz Au Go Go, a recording made live at the Cafe Au Go Go. Unfortunately, Getz' affair with Astrud Gilberto brought an end to his musical partnership with her and her husband and he began to move away from bossa-nova and back to cool jazz. Even while still working with the Gilbertos, he recorded Nobody Else But Me an album of straightforward jazz with a new quartet including vibraphonist Gary Burton, but Verve Records, wishing to continue building the Getz brand with bossa-nova, refused to release it. It eventually came out 30 years later, after Getz had died.
In 1972, Getz recorded in the fusion idiom with Chick Corea and Stanley Clarke. This group, without Getz, went on to become the famous Return to Forever, and many of the pieces including "La Fiesta" remained in their repertoire. In this period Getz experimented with an Echoplex on his saxophone, for which critics vilified him. He eventually discarded fusion and "electric jazz", returning to acoustic jazz, while at the same time gradually de-emphasizing the Bossa Nova, opting for more esoteric and less-mainstream jazz. He had a cameo in the movie The Exterminator (1980).
Towards the end of his life the now drug-free Getz had another creative peak with a group including the pianist Kenny Barron, whom Getz described as "my musical other half".
In 1986, he was inducted into the Down Beat Jazz Hall of Fame.
Getz married Beverly Byrne, a vocalist with the Gene Krupa band, on 7 November 1946; they had three children together: Steven, David, and Beverly (who married Michael McGovern).
Getz became involved with drugs and alcohol while a teenager. In 1954, he was arrested for attempting to rob a pharmacy to get a morphine fix. As he was being processed in the prison ward of Los Angeles County-USC Medical Center, Beverly gave birth to their third child one floor below.
Getz tried to escape his narcotics addiction by moving to Copenhagen. He married Swedish aristocrat Monica Silfverskiöld on 3 November 1956 and had two children with her: Pamela and Nicolas. In 1957 Swedish girlfriend Inga Torgnér gave birth to a son Peter. Stan divorced Monica in 1987.
Zoot Sims, who had known Getz since their time with Herman, once described him as 'a nice bunch of guys', as a consequence of the wide behavioural range of which Getz was capable. In the final stages of his life Getz was able to end his addictions.
Getz died of liver cancer in 1991. His body was cremated and the ashes scattered at sea, off the coast of Malibu, California.
In 1998 the 'Stan Getz Media Center and Library' at the Berklee College of Music was dedicated through a donation from the Herb Alpert Foundation.
Too Marvelous for Words
Stan Getz Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Like glorious, glamorous and that old standby amorous
It's all too wonderful, I'll never find the words
That say enough, tell enough, I mean they just aren't swell enough
You're much too much and just too very, very
To ever be in Webster's Dictionary
And so I'm borrowing a love song from the birds
You're much, you're too much and just too very, very
To ever be, to ever be in Webster's Dictionary
And so I'm borrowing a love song from the birds
To tell you that you're marvelous, tell you that you're marvelous
Tell you that you're marvelous, too marvelous for words
The lyrics to Stan Getz's song Too Marvelous for Words express the idea that the subject of the song is indescribably wonderful. The use of superlatives like "glorious," "glamorous," and "amorous" attempts to describe just how amazing the person is, but the singer still feels like these words are not enough. The lyricist goes as far as to say that the subject is "too very, very / To ever be in Webster's Dictionary," emphasizing just how ineffable the person's greatness is.
The final verse further emphasizes this point by stating that the singer must "borrow a love song from the birds" to convey just how marvelous the person is. This highlights the idea that nature itself seems to celebrate the greatness of the subject of the song. All in all, the lyrics seem to convey a sense of awe and wonder toward the person being described who is just too marvelous for words.
Line by Line Meaning
You're just too marvelous, too marvelous for words
You are incredibly amazing, beyond words.
Like glorious, glamorous and that old standby amorous
You are as beautiful as a majestic sight, as elegant as a luxurious experience, and as passionate as an enduring love.
It's all too wonderful, I'll never find the words
It's an extremely joyful experience, and I can't express it enough.
That say enough, tell enough, I mean they just aren't swell enough
All the words I know are inadequate to describe how amazing you are.
You're much too much and just too very, very
You're excessively awesome, unbelievably exceptional.
To ever be in Webster's Dictionary
You are beyond measure, to the point where no words can be found in the dictionary to describe you.
And so I'm borrowing a love song from the birds
I resort to using a love song that birds sing to express how much you mean to me.
To tell you that you're marvelous, too marvelous for words
To communicate how special you are, beyond mere words and language.
Tell you that you're marvelous, tell you that you're marvelous
Repeating it just for emphasis and to reinforce the message.
Lyrics © Warner Chappell Music, Inc.
Written by: JOHNNY MERCER, RICHARD A. WHITING
Lyrics Licensed & Provided by LyricFind
@jimmylohman1
Beautiful tune. Thank you.
@luigilamorte7753
Great rendition.
@BuckshotLaFunke1
Thank you, Otaku-San, you have a long track record of fine uploads.
@60otaku4
You're most welcome, BuckshotLaFunke1-san!!
Otaku4 (^_^)/
@caughtintimewarp
Yes Otahu-san. I so love your uploads. Thanks from Malaysia.
@sigraviovio
T’es mon bébé <3:)... on doit y aller mon amour <3:)... je t’aime fort <3:)... je sais toujours pas si on est en décalage:) bonne nuit? On verra <3:)... ILOVEU <3:)...
@DW-zy4zr
Ok, actually I didn't there was much of a tune
@djwsam575
Otaku yur the best
@60otaku4
Thanks so much, Hyma Thoumy -san!!
Otaku4 d(^_^)b
@monroec.hatcherjr.8233
Thanks.