’76, featuring Gilberto’s guest appearances during Getz’s gigs, can rightfully take a place alongside Getz/Gilberto (1964), Getz/Gilberto # 2 (1966) and The Best of Two Worlds (1976).Stan Getz & Joao Gilberto - Getz / Gilberto LP. Getz/Gilberto ’76 is a new entry to the small but significant collaborative discography of Getz and Brazilian guitarist-singer João Gilberto. Moments in Time preserves nine performances from Getz’s core sets, while its companion is even more special. The late tenor saxophone legend’s appearances at the nightspot between May 11 have been culled to create two new albums. Originally released in March 1964, this collaboration between saxophonist Stan Getz and guitarist Jo&227 o Gilberto came at seemingly the end of the bossa nova craze Getz himself had sparked in 1962 with Jazz Samba, his release with American guitarist Charlie Byrd.Jazz Samba remains the only jazz album to reach number one in the pop charts.Resonance Records has recently tapped the archives of the fondly-remembered San Francisco jazz spot Keystone Korner for two valuable additions on compact disc and vinyl to the Stan Getz discography.

The resulting performances are as sweet, gentle and beguiling as expected. (Getz’s selections sans Gilberto can be found on the companion Moments in Time.) Getz’s inventive, exploratory trio – Joanne Brackeen on piano, Clint Houston bass and Billy Hart on drums – accompany these twelve performances with tremendous subtlety to match Gilberto’s singularly intimate yet inviting guitar-and-vocals style as well as Getz’s sinuous solos. As on Getz/Gilberto # 2, a 1964 live recording from Carnegie Hall originally released in 1966, some selections feature Getz and Gilberto some just have Gilberto. Stan Getz - Getz/Gilberto 76.winning album Getz/Gilberto, and its sequel Getz/ Gilberto 2, Getz/Gilberto ‘76 is an instant classic collection of never-before-released recordings captured May 11-16, 1976 at the legendary San Francisco jazz club Keystone Korner, showcas-ing the legendary Brazilian singer, guitarist and composer Jo&227 o Gilberto, accompanied by theThere’s real magic on Getz/Gilberto ’76.

8 songs, including: Desafinado. It features Stan Getz on saxophone, Joao Gilberto on guitar, and Antonio Carlos Jobim on piano. - STAN GETZ/JOAO GILBERTO: Getz/Gilberto LP Orange Colored Vinyl This folio transcribes every note by every instrument on the ground-breaking 1965 bossa nova masterpiece that won the Grammy Award for Best Album of the Year and produced the classic standard The Girl from Ipanema which also won a Grammy for Record of the Year.

With his 1959 rendition, João Gilberto was likely the second artist to record it. “Chega da Saudade” is often recognized as the first bossa nova song. The lesser-known “Retrato en Branco e Prieto” (“Picture in Black and White”) has a hypnotic feel that harkens back to “Corcovado.” A third Jobim song played at Keystone Korner did not appear on Best of Two Worlds. (“The Girl from Ipanema,” however, is absent.) Best of all is Gilberto’s solo rendition of the haunting lyrical collage “Aguas de Marco” (“Waters of March”), one of Jobim’s great post-1960s standards. His songs, of course, had defined the groundbreaking, original Getz/Gilberto.

Getz introduced Jobim’s “O Grande Amor” on Getz/Gilberto and revisited it in 1967 on the album Sweet Rain with Chick Corea, Ron Carter and Grady Tate. Of particular interest to Getz/Gilberto fans may be the obligatory bossa track. Brackeen’s fleet improvisations are particularly tasty on this standard.On Moments in Time, Getz strikes a fine balance between the old and the new. Harry Warren and Al Dubin’s opening “Summer Night” cedes from a languid, noir-ish rubato introduction to a freewheeling, freshly inventive excursion through bop and swing. Gilberto played a couple of his own memorable compositions, as well: the instrumentals “Joao Marcelo” and “Um Abraço No Bonfá.”The elegant companion volume Moments in Time even more fully captures leader Getz and his band in peak form, functioning as one as they romp through Getz’s various musical genres. Complete your Joo Gilberto, Stan Getz.Getz/Gilberto ’76 also boasts three compositions from Dori Caymmi including a reprise of “Doralice” from Getz/Gilberto and two from # 2, the lovely “Rosa Morena” and the breezy “Samba da Minha Terra.” The composer credits on ’76 add up to a virtual “Who’s Who” of the great Brazilian songwriters also heard on the Keystone Korner stage were songs from Gilberto Gil (“Eu Vim da Bahia”) and Ary Barroso (“Morena Boca de Ouro”).

Another standard closes out the album, Jimmy Rowles and Johnny Mercer’s lightly swinging “Morning Star.”Both Getz/Gilberto ’76 and Moments in Time have been lavishly packaged by Resonance. Horace Silver, who had rose to fame in Getz’s band in the 1950s, authored the ballad “Peace.” The song finds Getz’s playing at its most lyrically reflective, while Duke Ellington’s classic “Prelude to a Kiss” brings out his romantic side. Getz also interjected a bit of current, seventies-style jazz-funk on the Kenny Wheeler composition Getz called “Cry of the Wild Goose,” displaying Hart’s assured drumming and the band’s tight interplay and swagger.Getz also dipped into the past for a number of selections. It’s rendered in smoky, sultry and slow-burning fashion. Dizzy Gillespie’s dynamic, shifting “Con Alma,” was also reprised from Sweet Rain as a Latin-style showcase.Of the more recent material in the set, Getz had not previously recorded the ballad “Infant Eyes” from another tenor saxophone hero, the slightly-younger Wayne Shorter.

But alone or together, the grooves conjured by Getz, Brackeen, Houston and Hart are altogether transporting.Stan Getz and Joao Gilberto, Getz/Gilberto ’76: Amazon U.S. Both of these live albums stand alone as engaging listening experiences, but they are doubtless best enjoyed as a pair. The sound has been restored by Fran Gala and George Klabin, and mastered by Gala, for both titles. In a fine, classy touch, G/G ’76 is adorned with distinctive artwork by Olga Albizu, the cover artist of the original Getz/Gilberto LPs. Both have numerous essays reflecting on the performances from various perspectives, including those of project co-producer Zev Feldman, Keystone Korner proprietor Todd Barkan, jazz scholars James Gavin (for Getz/Gilberto) and Ted Panken (for Moments), band members Billy Hart and Joanne Brackeen, and Stan’s son Steve Getz.

I wouldn’t compare The Second Disc to those publications, but it’s very much a conscious decision in many of our reviews – as in theirs – to address sound quality but not focus on it. Similarly, you won’t find much in-depth discussion of sound quality in the reviews of Mojo, Uncut, Record Collector, Rolling Stone or The AllMusic Guide, either. There are other review sites and forums out there that address sound quality in the kind of detail that you seek and that we’re simply not able to provide for most titles. As I’ve stated here many times in the past to curious readers, this isn’t an audiophile website. In 2009, Joe began contributing theatre and music reviews to the print publication The Sondheim Review, and in 2012, he joined the staff of The Digital Bits as a regular contributor writing about film and television on DVD and Blu-ray.Joe currently resides in the suburbs of New York City.Sorry to disappoint, Terry. He has felt privileged to work on productions alongside artists such as the late Jack Klugman, Eli Wallach, Arthur Laurents, Betty Comden and Adolph Green.

Others might not.) When reviewing titles designed for the audiophile market, of course, it’s a different story. I found both releases eminently listenable and completely enjoyable. The live tapes utilized certainly aren’t bootlegs, however, as they are authorized by the respective artists and estates. Resonance always makes its sources very clear.

That said, our aim here isn’t to conduct “exposés” on sources, as has been previously stated.Regarding your characterization of the site as “devoted to promoting product,” you’re absolutely right in the sense that The Second Disc was founded to celebrate – or promote – the music of the past, and to keep readers informed on titles that otherwise might receive little to no press coverage. I think my record on sound quality speaks for itself simply check out the titles on our own Second Disc Records imprint.

Getz Gilberto &#39;76

Getz Gilberto '76