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.
We
Stan Getz Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Didn't we?
This time we almost made some sense of it
Didn't we?
This time I had the answer, right here in my hand
Then I touched it and it had turned to sand
This time we almost sang our song in tune
This time we almost made it, made it to the moon
Didn't we, love?
This time we almost made our poem rhyme
This time we almost made that long hard climb
Didn't we almost make it?
Didn't we almost make it?
Didn't we almost make it this time?
The lyrics of "We" by Stan Getz recount a story of two people who come very close to achieving their goals, but ultimately fall short. The refrain of "Didn't we almost make it?" captures the essence of the song, as the singers repeatedly reflect on their failed efforts to succeed in love and life. The first verse speaks of a fleeting moment of clarity that quickly dissolves into nothingness. The singer feels confident that they have found the answer they were looking for, but upon touching it, the answer crumbles away like sand slipping through their fingers.
The second verse conjures up images of a musical duo trying to find their groove. They almost “sang our song in tune,” but their efforts just fall short. The failed attempt to make it to the moon is a metaphor for their inability to reach their potential. The final lines of the song use a clever play on words to hone in on the idea that they almost achieved something great but came up just shy of their goal. They almost made their poem rhyme, and they almost made that long hard climb. However, despite getting so close to success, they ultimately fell short.
Overall, "We" is a melancholy song that captures the feeling of almost being able to achieve something great but ultimately falling just shy of the goal. It's a reminder that life is full of near-misses, and it's a reminder to appreciate any successes we might have despite the meandering path we must take to achieve them.
Line by Line Meaning
This time we almost made the pieces fit
We were so close to making everything work perfectly, weren't we?
Didn't we?
Right, love?
This time we almost made some sense of it
We were almost able to comprehend what was happening, weren't we?
This time I had the answer, right here in my hand
I felt like I knew the solution, and it was right there, within my grasp.
Then I touched it and it had turned to sand
Unfortunately, it all fell apart as soon as I tried to make it happen.
This time we almost sang our song in tune
We were so close to being in perfect harmony while we sang together.
Didn't we, love?
Please tell me you remember this, my dear.
This time we almost made it, made it to the moon
We were just a hair's breadth away from achieving our wildest dreams of traveling to the moon.
Didn't we, love?
Can you believe how close we were to making it happen?
This time we almost made our poem rhyme
We were really close to making our words flow together perfectly in a poem.
This time we almost made that long hard climb
It was a difficult journey, but we nearly made it to the end.
Didn't we almost make it?
We were so close to success, weren't we?
Didn't we almost make it?
We were THIS close to achieving our goals, weren't we?
Didn't we almost make it this time?
We came so close to succeeding, but we fell just short.
Lyrics © Sony/ATV Music Publishing LLC
Written by: Jimmy L Webb
Lyrics Licensed & Provided by LyricFind