- Truly superb sound for this incredible recording, Triple Plus (A+++) on the second side and Double Plus (A++) on the first
- Amazingly present, immediate and REAL — musically and sonically, this is one of our favorite jazz albums
- This is an incredibly tough album to find with the right sound and decent surfaces, which is the main reason it’s been years since we did the shootout
- 4 stars on Allmusic: “Highly recommended for all dimensions of jazz enthusiasts.” [We would of course give it the full 5 Stars]
This Stan Getz record has the kind of LIVE JAZZ CLUB SOUND that audiophiles like us (you and me) dream of. More importantly, this ain’t no Jazz at Some Stupid Pawnshop — this is THE REAL THING. Stan Getz, Gary Burton, Kenny Burrell and the lovely Astrud Gilberto, the living embodiment of Cool Jazz, are coming to a listening room near you.
This is about as good a copy as has ever hit the site. Fans of cool jazz — in point of fact, some of the coolest jazz ever recorded — take note.
Cool Jazz Is Right
I’ve gotten more enjoyment out of this Getz album than any other, including those that are much more famous such as Getz/Gilberto (which doesn’t sound as good by the way). This one is (mostly) live in a nightclub and it immediately puts you in the right mood to hear this kind of jazz.
Listening to side one I’m struck with the idea that this is the coolest jazz record of cool jazz ever recorded. Getz’s take on Summertime is a perfect example of his “feel” during these sessions. His playing is pure emotion; every note seems to come directly from his heart.
What really sets these performances apart is the relaxed quality of the playing. He seems to be almost nonchalant, but it’s not a bored or disinterested sound he’s making. It’s more of a man completely comfortable in this live setting, surrounded by like-minded musicians, all communicating the same vibe. Perhaps they all got hold of some really good grass that day. That’s the feeling one gets from their playing. As one is listening, there’s a certain euphoria that seems to be part of the music. This is definitely one of those albums to get lost in.
A Top Test Disc
I also use this as a test disc because the third track on side 2, The Telephone Song, has a breathy vocal by Astrud and then Getz’s saxophone solo follows. If those two elements in the recording are in balance, your system is working, tonally anyway.
Of course, you would never know this is a good recording by playing the average domestic copy. This Hot Stamper LP is one of the few pressings that can show you that such a wonderful smoky night club (to quote Bryan Ferry) jazz LP really can have Demo Disc sound.
Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of later pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don’t have the vintage analog magic of these wonderful originals.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that’s certainly your prerogative, but we can’t imagine losing what’s good about this music — the size, the energy, the presence, the clarity, the weight — just to hear it with less background noise.
Corcovado (Quiet Nights Of Quiet Stars)
On the best copies the voice is perfection. The horn is always a bit hard sounding on this track though.
It Might As Well Be Spring
The best copies are warm, rich and sweet here, with much better sound for Getz’s sax. This track has some of the tubiest magic you will find on the album.
Eu E Voce (Me and You)
This one has real dynamics — the playing and the sound are lively, but somehow still cool…
Only Trust Your Heart
The Singing Song
The Telephone Song
The best song on side two, certainly the most fun, and a wonderful test track as mentioned earlier.
One Note Samba
Here’s That Rainy Day
… this recording hails from the venerable Greenwich Village venue, the Café Au Go Go, in mid-August of 1964 — two months after “Girl From Ipanema” became a Top Five pop single. However, the focus of Getz Au Go Go steers away from the Brazilian flavored fare, bringing Astrud Gilberto into the realm of a decidedly more North American style.
That said, there are a few Antonio Carlos Jobim compositions — “Corcovado (Quiet Nights of Quiet Stars)” and “One Note Samba” — both of which would be considered as jazz standards in years to follow — as well as the lesser-circulated “Eu E Voce.”
Getz and crew gather behind Richard Rodgers and Oscar Hammerstein’s “It Might as Well Be Spring,” and the scintillating instrumental “Summertime,” from Porgy & Bess. Other equally engaging cuts include affective vocal readings of “Only Trust Your Heart,” and the diminutive, yet catchy “Telephone Song.”
There is also some great interaction between Getz and Burton on “Here’s That Rainy Day.” Getz Au Go Go is highly recommended for all dimensions of jazz enthusiasts.
Size and Space
One of the qualities that we don’t talk about nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition the sound can often be recessed, lacking presence and immediacy in the center of the soundfield.
Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundscape, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.
We often have to go back and downgrade the copies that we were initially impressed with in light of such a standout pressing. Who knew the recording could be that huge, spacious and three dimensional? We sure didn’t, not until we played the copy that had those qualities, and that copy might have been number 8 or 9 in the rotation.
Think about it: if you had only seven copies, you might not have ever gotten to hear a copy that sounded as open and clear as that eighth or ninth one. And how many even dedicated audiophiles would have more than one of two clean original (or otherwise) copies with which to do a shootout?
One further point needs to be made: most of the time these very special pressings just plain rock harder. When you hear a copy do what this copy can, it’s an entirely different – and dare I say unforgettable — listening experienc