Another Acrobat compilation, another Simon Spillett multi-page essay. Both welcome, of course, for Getz's sound and methodology never fail to entrance, and Spillett casts a fellow-tenorist's beady eye over his subject. And what a subject! With such riches to plunder, any collation is bound to be subjective and, happily, there are no duds here. On the assumption that Getz, for all his wayward character, never seemed to have a bad day, much of the music here is quite glorious. Just to listen to him battling with Gillespie, say, on the fast and furious ‘Impromptu’ with Peterson and company panting to keep up is worth the price of admission alone. Then again, there's a great track teaming the tenorist with the full Count Basie band in what sounds to be a pretty lively setting. Inevitably, any established Getz collector will already know or have some of these tracks, but the newcomer to the Getz-ian genius will be amply rewarded if they collar this one. The man's sound was unique, light perhaps but always centred, the flow of ideas, as traded, typically, with Hamp on ‘Gladys’, or unfurled at length on ‘Blues for Mary Jane’, with the terrier-like pianist Lou Levy, seemingly never-ending. Thank goodness Norman Granz was so keen to record Getz so often and always in the very best of company. Pure pleasure: definitely recommended.