Stan Getz – Getz with Almeida

More Stan Getz

More Bossa Nova

  • With two nearly Triple Plus (A++ to A+++) sides, this copy is close to the BEST we have ever heard, right up there with our Shootout Winner – reasonably quiet vinyl too
  • Another Getz Bossa Nova Classic, recorded immediately after Getz/Gilberto, with comparable sound quality from Val Valentin’s All Tube Recording Chain
  • “Continuing his practice of running through one star guitarist after another, this time Getz has Laurindo Almeida as the designated rhythm man, featured composer, and solo foil. Jobim’s “Outra Vez” is a particularly lovely example of Getz’s freedom and effortless lyricism contrasted against Almeida’s anchored embroidering. [I]n the long view, one should be thankful that these musicians were recording so much cherishable material.”

For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good 1963-64 All Tube Analog sound can be, this killer copy will do the trick.

This pressing is super spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.

This IS the sound of Tubey Magic. No recordings will ever be made like this again, and no CD will ever capture what is in the grooves of this record. There is of course a CD of this album, but those of us who possess a working turntable and a good collection of vintage vinyl could care less.

What outstanding sides such as these have to offer is not hard to hear:

  • The biggest, most immediate staging in the largest acoustic space
  • The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1963
  • Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
  • Natural tonality in the midrange — with all the instruments having the correct timbre
  • Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

What We’re Listening For on Getz with Almeida

  • Energy for starters. What could be more important than the life of the music?
  • Then: presence and immediacy. The saxophone (or guitar) isn’t “back there” somewhere, way behind the speakers. It’s front and center where any recording engineer worth his salt would have put it.
  • The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
  • Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
  • Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
  • Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
  • Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.

Digging Creed Taylor Inc.

We’ve been really digging these Creed Taylor productions for years now. On the better albums such as this one, the players tend to sound carefree and loose — you can tell they’re enjoying the hell out of these songs.

Don’t get me wrong — we still love the Blue Note and Contemporary label stuff for our more “hard core” jazz needs, but it’s a kick to hear top jazz musicians laying down these grooves and not taking themselves so seriously… especially when it sounds as good as this copy does.

Engineering Excellence

Val Valentin’s engineering credits run for days. Some high points are of course Ella and Louis and Getz/Gilberto.

Some high points are of course Ella and Louis and Getz/Gilberto, two records that belong in any audiophile collection worthy of the name.

Recently we played a copy of We Get Requests by the Oscar Peterson Trio that blew our minds. And we have been big fans of Mel Tormé Swings Shubert Alley for more than a decade (but only on the reissue, not the original. Go figure).

Pull up his credits on Allmusic. No one I am familiar with other than Rudy Van Gelder recorded more great music, and in our opinion Valentin’s recordings are quite a bit more natural sounding than Rudy’s, especially with regard to the piano.

TRACK LISTING

Side One

Minica Moca (Young Lady)
Once Again (Otra Vez)
Winter Moon

Side Two

Do What You Do, Do
Samba Da Sahra
Maracatu-Too

AMG  Review

Three weeks after completing his meeting with Luiz Bonfá and only two days after the epochal Getz/Gilberto sessions, Stan Getz was back in the studio recording more bossa nova. Producer Creed Taylor was obviously striking while the iron was hot, getting in as many Brazilian sessions as he could, yet the quality of the music-making remained consistently marvelous. Continuing his practice of running through one star guitarist after another, this time Getz has Laurindo Almeida as the designated rhythm man, featured composer, and solo foil.

The rhythm section is an authentically swinging mixture of American sidemen (including Steve Kuhn on piano and George Duvivier on bass) and Brazilian percussionists. Almeida didn’t like to improvise, so his solos stay close to the tunes, inflected with a perfectly matched feeling for the groove along with classical poise.

Jobim’s “Outra Vez” is a particularly lovely example of Getz’s freedom and effortless lyricism contrasted against Almeida’s anchored embroidering. Sessions like these might have been seen as cashing in on the boom at the time, yet in the long view, one should be thankful that these musicians were recording so much cherishable material.

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