Two saxophone voices weaving cool, airy bop lines over a steady swing pulse.
Put on The Brothers and the first thing you notice is the airiness. Two tenor saxophones, Stan Getz and Zoot Sims, float lines over a rhythm section that swings without pushing, the tempos loose and conversational, the mood easy but alert. The sound is light and unhurried, with the close harmonies and playful call-and-response you'd expect from players who came up through the same band circles.
The album is a compilation of sessions from the early 1950s, and it draws on the "Four Brothers" sound that Getz, Sims and their peers forged in Woody Herman's band. Several of the cuts come from a 1952 sextet date led by Sims and Al Cohn, which adds Kai Winding's trombone and George Wallington's piano. Art Blakey and Percy Heath hold the groove underneath. The playing is fun more than profound. AllMusic reviewer Stephen Cook called it a fine release that nicely showcases the cool, proto-West Coast bop these players helped shape, and that is an accurate read.
As a place in Getz's catalogue, this is a worthwhile side document rather than a starting point. If you want Getz at his most fully realized, look to his later Verve work. But for listeners interested in the tenor-sax conversation of the mid-1950s, and in how cool bop was being shaped before it hardened into formula, The Brothers is an easy, rewarding listen.