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Live At The Berlin Jazz Festival 1966

Stan Getz Quartet & Astrud Gilberto

Live At The Berlin Jazz Festival 1966

Format: CD
Label: The Lost Recordings
UPC: 0194399059029
Catnr: TLR 2104038
Release date: 24 September 2021
2 CD
 
Label
The Lost Recordings
UPC
0194399059029
Catalogue number
TLR 2104038
Release date
24 September 2021

"Halverwege het concert werd zangeres Astrid Gilberto geïntroduceerd........de toevoeging van Burtons vibrafoon gaf een nieuw glanzend laagje an bekende songs als Corcovade en The Girl from Ipanema"

Jazzism, 15-10-2021
Album
Artist(s)
Composer(s)
Press
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About the album

The Lost Recordings found the master tapes of this double recital in the Berlin radio archives. How can one not be transported by this concert, which delivers a previously unreleased version of the tracks from the legendary 1964 album on Verve? The label is offering the world premiere of this concert recorded at the Berlin Philharmonic, as part of the 1966 Berliner Jazztage. The 19 tracks of this now unforgettable concert are added to the collection with, as always, an unequalled sound quality, thanks to the Phoenix Mastering® process

The concert given by Stan Getz's quartet with Astrud Gilberto on November 4, 1966, was a sort of contretemps. In these crazy years when everything is rushing, things have indeed changed in the lives and careers of the two main protagonists who, after a fleeting romance, have each regained their personal and artistic independence.

After a brief romantic idyll together, each one returned to their private lives and resumed their independence as artists. Verve had brought out a series of albums by Astrud Gilberto where seductive easy listening intermingled with cool jazz, sentimental pop and languid Brazilian groove. She was at the very pinnacle of her fame, while Getz had made a remarkable comeback to jazz. Once again, he worked with arranger Eddie Sauter, this time on the soundtrack of Arthur Penn’s Mickey One. Even more noteworthy was his discovery of vibraphonist Gary Burton, barely twenty years old, the ideal musician with whom to form a regular jazz quartet with Gene Cherico on bass and Joe Hunt on drums. It was an ensemble that was receptive to new sounds and harmonic ventures.

The opening bars of “Samba de Uma Nota só” instantaneously wrought the magic of the reunion. As if time had stood still, the hesitant fragility of Astrud’s voice against the foggy, iridescent sounds of Gary Burton’s vibraphone, amplified by the airy countermelody of Getz’s saxophone, recreated all the freshness and innocence of the legendary recording of 1964.

In an astutely compiled suite of bossa nova standards (“Você e eu” by Gilberto Gil, “Corcovado” and “The Girl from Ipanema” by Jobim) combined with compositions that were jazzier in both form and spirit (“Jive Hoot” de Bob Brookmeyer and the sentimental standards “The Shadow of your Smile” and “It Might As Well Be Spring”) Astrud Gilberto and Stan Getz perform with restraint yet communicate their joy of playing together. Instead of giving the impression of a return to the past, they give life to this sensual, melancholic music as if they were falling in love with the offspring of their respective musical passion.

The Lost Recordings hat die Masterbänder dieses Doppelkonzerts in den Berliner Rundfunkarchiven gefunden. Wie kann man nicht von diesem Konzert begeistert sein, das eine bisher unveröffentlichte Version der Titel des legendären Albums von 1964 auf Verve liefert? Das Label bietet die Weltpremiere dieses Konzerts, das in der Berliner Philharmonie im Rahmen der Berliner Jazztage 1966 aufgenommen wurde. Die 19 Tracks dieses unvergesslich gewordenen Konzerts werden dank des Phoenix Mastering®-Verfahrens in einer wie immer unerreichten Klangqualität in die Sammlung aufgenommen

Das Konzert, das das Quartett von Stan Getz mit Astrud Gilberto am 4. November 1966 gab, war eine Art Contretemps. In diesen verrückten Jahren, in denen sich alles überstürzt, hat sich in der Tat einiges im Leben und in der Karriere der beiden Hauptprotagonisten geändert, die nach einer flüchtigen Romanze jeweils ihre persönliche und künstlerische Unabhängigkeit wiedererlangt haben.

Nach einer kurzen romantischen Idylle zusammen, kehrten beide in ihr Privatleben zurück und nahmen ihre Unabhängigkeit als Künstler wieder auf. Verve hatte eine Reihe von Alben von Astrud Gilberto herausgebracht, auf denen sich verführerisches Easy Listening mit coolem Jazz, sentimentalem Pop und schmachtendem brasilianischem Groove vermischte. Sie war auf dem Höhepunkt ihres Ruhmes, während Getz ein bemerkenswertes Comeback zum Jazz feierte. Erneut arbeitete er mit dem Arrangeur Eddie Sauter zusammen, diesmal für den Soundtrack von Arthur Penns Mickey One. Noch bemerkenswerter war seine Entdeckung des Vibraphonisten Gary Burton, kaum zwanzig Jahre alt, der ideale Musiker, um mit Gene Cherico am Bass und Joe Hunt am Schlagzeug ein regelmäßiges Jazz-Quartett zu bilden. Es war ein Ensemble, das für neue Klänge und harmonische Wagnisse empfänglich war.

Mit den ersten Takten von "Samba de Uma Nota só" war der Zauber des Wiedersehens sofort hergestellt. Als ob die Zeit stehen geblieben wäre, erweckte die zögerliche Zerbrechlichkeit von Astruds Stimme gegen die nebligen, schillernden Klänge von Gary Burtons Vibraphon, verstärkt durch die luftige Gegenmelodie von Getz' Saxophon, die ganze Frische und Unschuld der legendären Aufnahme von 1964.

In einer klug zusammengestellten Suite von Bossa-Nova-Standards ("Você e eu" von Gilberto Gil, "Corcovado" und "The Girl from Ipanema" von Jobim), kombiniert mit Kompositionen, die in Form und Geist jazziger waren ("Jive Hoot" von Bob Brookmeyer und die sentimentalen Standards "The Shadow of your Smile" und "It Might As Well Be Spring"), spielen Astrud Gilberto und Stan Getz zurückhaltend und vermitteln doch ihre Freude am gemeinsamen Spiel. Statt den Eindruck einer Rückkehr in die Vergangenheit zu erwecken, erwecken sie diese sinnliche, melancholische Musik zum Leben, als ob sie sich in den Sprössling ihrer jeweiligen musikalischen Leidenschaft verlieben würden.

Artist(s)

Gary Burton (vibraphone)

Born in 1943 and raised in Indiana, Gary Burton taught himself to play the vibraphone and, at the age of 17, made his recording debut in Nashville, Tennessee, with guitarists Hank Garland and Chet Atkins. Two years later, Burton left his studies at Berklee College of Music to join George Shearing and subsequently Stan Getz, with whom he worked from 1964-1966. As a member of Getz’s quartet, Burton won Down Beat magazine’s Talent Deserving of Wider Recognition award in 1965. By the time he left Getz to form his own quartet in 1967, Burton had also recorded three albums under his name for RCA. Borrowing rhythms and sonorities from rock music, while maintaining jazz’s emphasis on improvisation and harmonic complexity,...
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Born in 1943 and raised in Indiana, Gary Burton taught himself to play the vibraphone and, at the age of 17, made his recording debut in Nashville, Tennessee, with guitarists Hank Garland and Chet Atkins. Two years later, Burton left his studies at Berklee College of Music to join George Shearing and subsequently Stan Getz, with whom he worked from 1964-1966. As a member of Getz’s quartet, Burton won Down Beat magazine’s Talent Deserving of Wider Recognition award in 1965. By the time he left Getz to form his own quartet in 1967, Burton had also recorded three albums under his name for RCA. Borrowing rhythms and sonorities from rock music, while maintaining jazz’s emphasis on improvisation and harmonic complexity, Burton’s first quartet attracted large audiences from both sides of the jazz-rock spectrum. Such albums as Duster and Lofty Fake Anagram established Burton and his band as progenitors of the jazz fusion phenomenon.

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Stan Getz (saxophone)

Chuck Israels (double bass)

Roy Haynes (drums)

Composer(s)

Press

Halverwege het concert werd zangeres Astrid Gilberto geïntroduceerd........de toevoeging van Burtons vibrafoon gaf een nieuw glanzend laagje an bekende songs als Corcovade en The Girl from Ipanema
Jazzism, 15-10-2021

... Getz, on the other hand, is in top form, pulling out all the stops of his wonderfully lyrical playing, ripping into the exotic melodies, playing around them, improvising with a smoky smoothness and his fluid phrasing style, making almost every one of these nineteen tracks in all a little sparkling gem...
Kultkomplott, 13-10-2021

... Seen in this way, the use of Getz is taken back accordingly and together they created an atmosphere full of sensuality and partly great melancholy, with breathed saxophone sounds, which sometimes remind of Ben Webster...
Musikansich, 30-9-2021

... For most jazz lovers there is probably no doubt that Stan Getz was a genius on the saxophone. This album is a meeting of the highest level: Gary Burton on vibraphone, a perfect rhythm section led by Roy Haynes and the beautiful voice of Astrud Gilberto. This album shows how great they could play, what incredible feeling, creativity and sound strength they had, which can be heard in all tracks with different intensity.  
Jazzfun, 23-9-2021

Live at the Berlin Jazz Festival 1966 consists of master tapes of a double concert by the Stan Getz Quartet & Astrud Gilberto with previously unreleased versions, sonically very well remastered...
VirginJazzFace

a new shiny layer of well-known songs such as Corcovado and The Girl from Ipanema.
Jazzism, 08-2-2022

The unique sound Getz creates on his tenor saxophone is nothing short of divine: a bittersweet, outspoken lyrical tone that leaves you wanting more. A sound that is a more than perfect match with the twinkling playing of vibraphonist Burton.
Jazzenzo, 09-11-2021

Getz,...., is in top form, with his wonderfully lyrical playing, picks up the exotic melodies, plays around them, improvises with a smoky suppleness and his fluid phrasing style and makes almost each of these nineteen titles a small, sparkling jewel.
KultKomplott, 13-10-2021

The Lost Recordings label has once again unearthed a treasure: Stan Getz's 1966 concert at the Berlin Jazz Festival with a top-class band...  
nrwjazz, 12-9-2021

The Verve album "Getz/Gilberto" in 1964 made not only the Brazilian bossanova popular, but also the singer Astrud Gilberto, who gave "The Girl From Ipanema" on it, world famous...
Jazzthing, 25-8-2021

... And it is precisely this mixture that makes this recording so appealing, sounding unspent and timeless in its lightness, coolness and transparency even after all these years.
WDR

Play album Play album
Disc #1
01.
On Green Dolphin Street
06:48
(Bronislau Kaper) Gary Burton, Stan Getz, Chuck Israels, Roy Haynes, Astrud Gilberto
02.
Introduction by Stan Getz
00:52
(Stan Getz) Gary Burton, Stan Getz, Chuck Israels, Roy Haynes, Astrud Gilberto
03.
The Singing Song
03:12
(Gary Burton) Gary Burton, Stan Getz, Chuck Israels, Roy Haynes, Astrud Gilberto
04.
The Shadow of Your Smile
05:10
(Johnny Mandel) Gary Burton, Stan Getz, Chuck Israels, Roy Haynes, Astrud Gilberto
05.
O Grande Amor
06:41
(Antonio Carlos Jobim) Gary Burton, Stan Getz, Chuck Israels, Roy Haynes, Astrud Gilberto
06.
Blues Walk
06:37
(Lou Donaldson) Gary Burton, Stan Getz, Chuck Israels, Roy Haynes, Astrud Gilberto
07.
Once upon a Summertime
06:42
(Michel Legrand) Gary Burton, Stan Getz, Chuck Israels, Roy Haynes, Astrud Gilberto
08.
Edelweiss
04:16
(Richard Rodgers) Gary Burton, Stan Getz, Chuck Israels, Roy Haynes, Astrud Gilberto
09.
Medley: Desafinado/Chega de Saudade
06:50
(Antonio Carlos Jobim) Gary Burton, Stan Getz, Chuck Israels, Roy Haynes, Astrud Gilberto

Disc #2
01.
Samba de uma Nota Só
03:43
(Antonio Carlos Jobim) Gary Burton, Stan Getz, Chuck Israels, Roy Haynes, Astrud Gilberto
02.
The Shadow of Your Smile
03:04
(Johnny Mandel) Chuck Israels, Gary Burton, Stan Getz, Roy Haynes, Astrud Gilberto
03.
Você E Eu (Eu E Voce)
02:40
(Carlos Lyra) Gary Burton, Stan Getz, Chuck Israels, Roy Haynes, Astrud Gilberto
04.
Corcovado
04:26
(Antonio Carlos Jobim) Gary Burton, Stan Getz, Chuck Israels, Roy Haynes, Astrud Gilberto
05.
The Telephone Song
02:00
(Robert Menescal) Gary Burton, Stan Getz, Chuck Israels, Roy Haynes, Astrud Gilberto
06.
It Might as Well Be Spring
04:14
(Richard Rodgers) Gary Burton, Stan Getz, Chuck Israels, Roy Haynes, Astrud Gilberto
07.
The Girl from Ipanema
04:11
(Antonio Carlos Jobim) Gary Burton, Stan Getz, Chuck Israels, Roy Haynes, Astrud Gilberto
08.
Announcement by Stan Getz
00:38
(Stan Getz) Gary Burton, Stan Getz, Chuck Israels, Roy Haynes, Astrud Gilberto
09.
Jive Hoot
09:04
(Bob Brookmeyer) Gary Burton, Stan Getz, Chuck Israels, Roy Haynes, Astrud Gilberto
10.
Goodbye by Stan Getz
00:57
(Stan Getz) Gary Burton, Stan Getz, Chuck Israels, Roy Haynes, Astrud Gilberto
show all tracks

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