Getz/Gilberto 76

Olga Albizu’s cover painting, similar to a series of Jazz Samba albums on Verve, gives an impression of George Klabin and Zeb Feldman’s enthusiasm to this project. According to Todd Barkan, Getz contacted Barkan with the idea of booking his quartet and Joao Gilberto at Keystone Korner for a week, to promote the release of Columbia’s “The Best Of Two Worlds.” (DownBeat, Mar.,’16) People even came from Brazil to hear them, as Barkan advertised the gig two or three months in advance. “Getz/Gilberto ’76” captures excitement of those days, from the second sets of those nights. Getz is said to be irascible and sometimes even violent, while Gilberto being very shy. Barkan says getting them on the road together was next to impossible. The Japanese quarterly jazz magazine “Jazz Critics” reports there is a subtle discordance between Getz and Gilberto on the rising success of “Getz/Gilberto.” Only Antonio Carlos Jobim’s politics keeps a delicate balance between them. (Jazz Critics No.119, ’04) This album doesn’t show a bit of their disharmony. Billy Hart attests that Gilberto was living at Getz’s house at that time. Jazz Samba would be one project among many to Getz, even though the resulting success brought him back to pop stardom. In contrast with Verve albums, where Getz plays at the fore on every songs, a leading character on “Getz/Gilberto ’76” is Gilberto. Barkan credits Hart is the unsung hero of this gig. He testifies Gilberto really likes him. Hart had studied Brazilian music and made Gilberto feel at ease, Barkan says. From the very beginning Gilberto captures us. Gilberto depicts deeply poetic world with featherlight samba rhythms. Getz devotes himself to being a subordinate role to Gilberto here. Mostly he steps aside, while Gilberto controlling a procession of the nights. Getz pays respects to Gilberto in his introducing comments. When he complements Gilberto, he blows identically and melodiously. Gilberto even chuckles to himself toward a call thrown in from the audience. Hart and Clint Houston’s backing is rather indistinct, nevertheless supporting Gilberto sufficiently, who sings way in front of the beat at times and away behind the beat at times. Joanne Brackeen joins them with a scarcely audible volume, which doesn’t interrupt Gilberto’s delicate world. Her backing is inventive and precise. Up to now, “Getz With Laurindo Almeida” was the best album among a Jazz Samba series to me. “Getz/Gilberto ’76” surpasses this much further.

As an avid collector of Stan Getz recordings I treasure this reunion with Joao Gilbero. It is well packaged, and the music is superb. This quartet with Joanne Bracheen on piano was not much recorded, so this material is important. Getz was transitioning from the Bossa Nova period to his excellent 80' work.

****1/2. Much has been discussed about the volume balance of the band versus João Gilberto, that Gilberto was over-miked, but frankly I find no problem. The CD is not about the band. Package notes of Stan Getz's Moments in Time, derived from the same sessions in 1976 at the Keystone Korner in San Francisco and issued by the same team, state that the band purposefully reduced their performance volume as well as improvisational development. Gilberto is a soft, sensual singer and he plays a soft nylon-string guitar; they honored the vocalist by holding back and they let his artistry shine. My high level stereo system and also by my studio headphones via computer DVD/CD drive allowed full appreciation of Billy Hart's drums. Joanne Brackeen was the pianist of the recordings and she played only a few gentle supporting notes. It was Getz who was over-miked; his interludes were fortunately infrequent and brief. Bassist Clint Houston provided just simple, basic background. Gilberto was heart-tugging Gilberto. Ah! Bossa Nova of Jobim, songs of Dori Caymmi, a tune by Gilberto Gill and by Ary Barroso, and a couple by Gilberto himself are featured. The track João Marcelo [Gilberto' son] is pure instrumental. Thus, the album chiefly is of guitar, voice, and drum, Rio de Janeiro, Brazil, and love. In the encore, the band opens up and we hear all the musicians fine. Key is the live, intimate atmosphere. Even if the tape recordings and clear digital remastering may seem merely of archival quality, the album is certainly worthwhile.

Beautiful 180 Gram Vinyl. Great performance. I feel the mix is a little focused on the vocals and would have loved to hear a little more of the Bossa Rhythm, but over all very enjoyable.

good fast service & product as advertised

I was happy to find that this cd had come out with tunes that were recorded live in 1976. This doesn't match the excitement of listening to the first Getz/Gilberto album from back in the day, but that would be almost impossible to ever duplicate. It has been one of, if not my favorite jazz album ever. Stan Getz is my favorite sax player of all time, so this is a wonderful addition to my collection.

This is a great release for Joao Gilberto fans after all these years. For a "live" recording, this is quite enjoyable.

For me this is relaxing music, in a stressful world were I deal with people who are hostile this is a great escape for me!

All good.

音質的にライブ感が感じられ、その意味では聞き応えはあるかと思います。ライブを本格的に録音された物より臨場感があり気に入ってます。

A flor de piel. Pura poesía de los trópicos en la primavera de una noche de acordes nueva-yorquinos, donde dos genios de la música y la palabra se encuentran. Un ensueño con la memoria de los elefantes.

Wie überall gibt es auch in der Musik so richtige Sternstunden. Selten werden solche magischen Momente festgehalten. Noch seltener geschieht solches in Perfektion. Hier ist das geschehen. Die Ausnahmemusiker Stan Getz und Joao Gilberto ersetzen hier zu zweit ein ganzes Bossa/Nova/Latin-Orchester und das beschwingt, mühelos, leichtfüssig und ganz, ganz locker. Ein eigener Stil an der Gitarre und der unglaubliche Sound von Getz' Saxophon tun ein übriges. Die beiden machen Staunen, ziehen den Zuhörer in Ihren Bann und haben keine Mühe dabei sondern auch noch fühlbar sehr viel Spass. "Ich glaube alle Saxophonisten würden gerne so spielen wie Getz - wenn sie es könnten..." Das hat irgendein großer Musiker mal gesagt, ich weiß leider nicht mehr wer, aber er könnte Recht haben. Von der perfekten Performance und Songauswahl zum Sound: Es ist mühelos erhörbar, dass hier in einem eher kleinen Club musiziert wurde, die intime Stimmung ist fühlbar, der Klang der Instrumente ist unmittelbar und nahe. Gilberto singt einem mitunter so ins Ohr, dass man Gänsehaut bekommt, seine Gitarre sieht man nahezu vor sich. Mit dem Saxophon verhält es sich ebenso, der Klang ist fett, jedes Anblasgeräusch ist zu hören. Besser kann man das nicht machen. Gute Live-Aufnahmen aus der Mitte der 70er kenne ich wenige, aber diese hier ist zweifelsfrei eine der besten überhaupt. Schön, dass man solche Pretiosen ausgräbt und veröffentlicht. Noch schöner, dass es dazu ein richtig schönes Hochglanzcover und ein doppelseitiges Infoblatt gibt. Die schwere Platte ist zudem sauber, perfekt entgratet und genau zentriert. Spitze.... Für jemanden, der Bossa Nova mag, eine Pflichtanschaffung, alle Anderen sollten auch mal reinhören. Dem Zauber dieser Performance kann man sich kaum entziehen.

Diese Live Aufnahme aus dem Jahre 1976 ist eine wahre Perle des Bossa Novas. Nur sehr dezente Instrumentierung mit minimalem Gesang und dazu die Atmosphäre aus einem wahrscheinlich sehr kleinen Jazz Club. Die positive Stimmung kommt förmlich direkt rüber. Musikalisch gefallen mir sowohl die dezenten ruhigeren als auch die etwas schnelleren Stücke. Da hier nur ein Duo aufgetreten ist, kann man auch sehr schnell die filigranen Techniken entdecken, mit denen die Instrumente bedient wurden. Hier spielen Meister ihres Fachs.