Getz/Gilberto '76 (Remastered) Stan Getz & João Gilberto
- 1Spoken Intro by Stan Getz00:54
- 2É Preciso Perdoar05:42
- 3Aguas de Março05:54
- 4Retrato em Branco e Preto04:32
- 5Samba da minha terra03:39
- 6Chega de saudade04:28
- 7Rosa Morena03:53
- 8Eu vim da bahia00:03
- 10Morena boca de ouro03:32
- 11Um Abraço no Bonfa03:41
- 12É Preciso Perdoar: E Preciso Perdoar (encore)05:59
Info zu Getz/Gilberto '76 (Remastered)
Tenor titan Stan Getz and Bossanova legend João Gilberto reunite in 1976 with never-before-released recordings from the famed Keystone Korner jazz club in San Francisco featuring pianist Joanne Brackeen, bassist Clint Houston and drummer Billy Hart. This deluxe HighRes-Remaster includes booklet of essays by author James Gavin, Bossanova pioneer Carlos Lyra, Stan's son Steve Getz, and producers Zev Feldman and Todd Barkan, as well as previously unpublished photos from the archives of acclaimed music photographer Tom Copi. Also available as a limited edition 12 LP, Getz/Gilberto 76 is a notable follow-up to one of the bestselling jazz albums of all time, 1964's Getz/Gilberto (Verve) and includes such Bossanova favorites as Doralice, Chega de Saudade and Eu Vim da Bahia. A beautifully vibrant painting ( Equilibrium Verde ) by celebrated Puerto Rican abstract expressionist artist, Olga Albizu, graces the cover. Her paintings can also be seen on the covers of Getz/Gilberto and Getz/Gilberto #2 (1966, Verve).
„Having reunited for 1976's The Best of Two Worlds, saxophonist Stan Getz and Brazilian singer/guitarist João Gilberto celebrated the album's release with a week of shows at San Francisco's Keystone Corner. Marking over a decade since the pair had made history with 1964's landmark Getz/Gilberto album, the shows, which took place between May 11-16, 1976, would prove one of the rare times they appeared live together. Resonance Records' 2016 album, Getz/Gilberto '76 (and the separate release Moments in Time), documents these shows via live recordings made by Keystone Korner club owner Todd Barkan. Produced by Barkan and Resonance's Zev Feldman, Getz/Gilberto '76 is a superb package featuring not only some of Getz and Gilberto's best live performances of the period, but also liner notes from Feldman, Barkan, and others, as well as interviews with bandmembers like drummer Billy Hart and pianist Joanne Brackeen. The '70s were a fruitful time for Getz, a star of the cool jazz scene who had been playing professionally since the '40s. While he achieved fame and wealth with his innovative bossa nova albums during the '60s, he remained creatively hungry as the years wore on, surrounding himself with young, forward-thinking jazz musicians like Hart, Brackeen, and bassist Clint Houston, who also appears here. Despite this contemporary attitude, Getz and his band were more than amenable to backing the enigmatic Gilberto, who appears here in a variety of settings, from solo to duo to accompaniment by the full band. What's particularly fascinating is hearing how the band adjusts to Gilberto's distinctive and subtle phrasing, his steady guitar pulse anchoring his delicate, fluid vocal melodies. While cuts like "Chega de Saudade" and "Doralice" retain all the warmth and beauty of the original 1964 recordings, at the Keystone Getz and his band color them in surprising yet still thoughtful ways. The result is an evening of organic, dreamlike splendor.“ (Matt Collar, AMG)
Clint Houston, double bass
Billy Hart, drums
Joanne Brackeen, piano
Stan Getz, tenor saxophone
João Gilberto, vocals, guitar
Recorded live at Keystone Korner, San Francisco, May 11-16, 1976
was a tenor saxophonist of the first rank who, while exploring and pursuing a purity of musical expression, maintained a large following. He attracted it early in his career with his recording of "Early Autumn" with the Woody Herman band in 1948, more or less sustained it during the Fifties (which were not always tranquil times for him), and then, in the early Sixties, expanded it as he helped introduce Brazilian bossa nova rhythms to jazz. With "Desafinado" and other tunes, Getz established a sound and a beat that appeared and soared on the charts that rank recordings by the number sold. When he died in 1991, he was one of the most esteemed jazz figures among musicians, critics, and general listeners. He gianed this acceptance despite never having compromised his art.
Although Getz played attractive compositions tastefully with harmonic and melodic sophistication, so too did many substantial musicians who never received much critical and popular acclaim. The primary reason for his greatness and his popularity lies elsewhere, in his tone. It is uniquely his. Big and pure and rich and definite, it possesses such an intrinsic appeal that master saxophonist and innovator John Coltrane proclaimed his envy of it — and Roost Records released a Getz album in the Fifties called, simply and accurately, The Sound.
Getz recorded his most sublime creations during his long affiliation with first the Clef and Norgran labels and then Verve Records, from 1952 to 1971.
Dieses Album enthält kein Booklet