Directly following a spirited romp through ‘All God's Chillun Got Rhythm’, Getz quizzes his accompanists in all seriousness “Did I sound too terrible on that?” and this coming from a man responsible for possibly the most seductive sound on the saxophone, ever. Such is the truly wondrous quality of the many recordings that Getz taped for Norman Granz during the mid-to-late-1950s, that it's difficult to comprehend that here was a deeply troubled person both physically and mentally. But the impromptu day-long session that comprises the expanded Award Winner collection amounts to one of the finest of a magnificent bunch of albums that included The Steamer and those ‘West Coast Jazz’ sessions. I may have aired this opinion previously, but along with Sinatra and Ella, Stan Getz was unquestionably one of the most gifted of all interpreters of the Great American Songbook. Here, Lou Levy often leads the way with gusty keyboard intros (‘This Can’t Be Love’) prompting Getz so pick up the momentum and run with it. And so it goes.