2 CD |
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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, 15-10-2021The 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.
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