Getz / Gilberto '76
| Getz / Gilberto '76 | ||||
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| Live album by João Gilberto , Stan Getz | ||||
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Publication |
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| Label (s) | Resonance Records | |||
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Format (s) |
CD, LP |
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Title (number) |
13 |
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running time |
55:07 |
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Getz / Gilberto '76 is an album by João Gilberto and Stan Getz , which was recorded from May 11 to 16, 1976 at the Keystone Korner jazz club in San Francisco and released on February 19, 2016 on Resonance Records .
background
More than a decade after the successful album Getz / Gilberto (Verve, 1964), which helped Bossa Nova to gain international enthusiasm, and a live album two years later ( Getz / Gilberto 2 ), an engagement at Keystone Korner produced more material than the Brazilian guitarist and singer appeared with a short-lived Getz quartet that also included pianist Joanne Brackeen , bassist Clint Houston and drummer Billy Hart . Getz and Gilberto were united in 1976 for the album The Best of Two Worlds and celebrated the release of the album with a week-long show at Keystone Corner in San Francisco. “The focus here is on Gilberto, whose nuanced vocals and excellent, subtle guitar work can be heard wonderfully (there are even some nice guitar instrumentals). Getz plays solos to a handful of melodies while his companions stay very much in the background (the band, on the other hand, can be heard better on Moments in Time ). "
The record cover is the work of the Puerto Rican abstract expressionist Olga Albizu - the artist who also provided the cover images for Getz / Gilberto's first two albums.
Track list
- João Gilberto, Stan Getz: Getz / Gilberto '76 (Resonance Records - HCD-2021)
- Spoken Intro By Stan Getz 1:07
- É Preciso Perdoar (Carlos Coqueijo / Alcivando Luz) 5:50
- Aguas De Março ( Antônio Carlos Jobim ) 5:46
- Retrato Em Branco E Preto (Francisco Buarque De Hollanda / Antônio Carlos Jobim) 4:47
- Samba Da Minha Terra (Dorival Caymmi) 3:20
- Chega De Saudade (Antônio Carlos Jobim / Vinícius de Moraes ) 3:42
- Rosa Morena (Dorival Caymmi) 4:25
- Eu Vim Da Bahia ( Gilberto Gil ) 4:11
- João Marcelo (João Gilberto) 3:20
- Doralice (Antonio Almeida / Dorival Caymmi) 3:47
- Morena Boca De Ouro (Ary Barroso) 3:34
- At Abraço No Bonfá 4:38
- É Preciso Perdoar (Encore) (Carlos Coqueijo / Alcivando Luz) 6:29
reception
Matt Colar awarded the album 4½ (out of 5) stars in Allmusic, praising Resonance Records' 2016 album Getz / Gilberto '76 (and separate release Moments in Time ) as "an excellent package that includes some of the best live performances by Getz and Gilberto from this time contain ”. “The 1970s were a fertile time for Getz, a star of the cool jazz scene who had played professionally since the 1940s. While he rose to fame and fortune with his innovative bossa nova albums in the 1960s, he remained creatively hungry over the years and surrounded himself with young, forward-looking jazz musicians such as Hart, Brackeen and the bassist Clint Houston here, who also appeared. Despite this contemporary stance, Getz and his band were more than suitable to support the enigmatic Gilberto, who appears here in a multitude of performances, from solo to duo to accompanying the entire band. It's especially fascinating to hear how the band adapts to Gilberto's distinctive and subtle phrasing . His steady guitar pulse anchors his tender, flowing vocal melodies. While recordings such as 'Chega de Saudade' and 'Doralice' retain all the warmth and beauty of the original recordings from 1964, they give Getz and his band in the Keystone a surprising yet thoughtful color. The result is an organic, dreamlike evening. "
Dave Gelly came to the same conclusion and wrote in the UK Guardian : “Despite its title, this is Gilberto's album. Performances by the perfectionist, semi-withdrawn Gilberto are rare, and there is an atmosphere of silence in which he half whispers the Portuguese lyrics, accompanied by his minimalist but infinitely subtle guitar. Even Getz's splendid tenor saxophone sounds stricter by comparison. ”The original Getz / Gilberto album from 1964 is a masterpiece, Gelly continues, and the present recording“ never reaches these highs, but there is something fascinating about Gilberto's intensity when he faces a live audience. "
Andrew Cartmel discussed the album for London Jazz News and said the newly discovered Getz / Gilberto sessions “get the music in an intimate and balanced recording,” which was particularly vividly received on the high-quality, limited-edition vinyl release. In his spoken introduction, Getz praises João Gilberto for his ability to “ sing warmly without vibrato ” and “the simple beating of Gilberto's guitar unfolds and evolves as the vehicle for this voice on 'É Preciso Perdoar' ('Must Forgive') with Clint Houston's bass followed closely and filled the sound almost sublime, Joanne Brackeen played delicate and tasteful fills, and Billy Hart's brief, drumming drumming - a steady tic-tac - provides the pulse. An elegant and influential mood is created almost immediately, but it must be said that when Getz walks in, a whole other dimension is added to the progress. Its tenor is not what could be called smooth - it has a raw rawness - but it is endlessly compelling, with a raw eloquence. Hart takes a step forward to support the band leader and then Getz steps back to let Gilberto come back on stage, with Houston's superb bass amplifying his guitar. It is surprising and gratifying how much space Getz Gilberto gives in this recording. There are no turf wars here. "
"Aguas de Março" ( Waters of March ) is a composition by Antônio Carlos Jobim and possibly his masterpiece, Gelly continues. The version here is "of absolute beauty, with the gentle urgency of Gilberto's vocals, which lays against his lonely, loping guitar and gives the melody a racing heartbeat, like falling rocks on water. While the cascade of Jobim's pictures is sung, they are accompanied and brought to life by the tangy beat of his guitar playing. Again, the bass and drums are so almost subliminal that it almost seems like a solo performance. Retrato em Branco e Preto (“Portrait in White and Black”) makes Getz's tenor appear with a raw authority that sensually embraces the melody as if it were knotting silk scarves. The bass and drums ensure a strong heartbeat, and Gilberto's hoarse vocals are gently piercing. This recording has great sound reality and tremendous intimacy. The selection is great and the musicians put it at the top of their game. It seems that over fifty years after its publication Getz / Gilberto has finally got a worthy successor. "
Web links
Individual evidence
- ↑ a b Review of the album Getz / Gilberto '76 by Matt Collar at Allmusic (English). Retrieved March 27, 2019.
- ^ Getz / Gilberto '76. The Absolute Sound, February 1, 2007, accessed March 21, 2019 .
- ↑ a b Andrew Cartmel: LP REVIEW: João Gilberto and Stan Getz - Getz / Gilberto '76. London Jazz News, April 20, 2016, accessed March 27, 2019 .
- ↑ Dave Delly: João Gilberto: Getz / Gilberto '76 review - live, minimalist and spellbinding. The Guardian, February 14, 2016, accessed March 21, 2019 .