- A KILLER sounding copy with Shootout Winning Triple Plus (A+++) Live Jazz sound from start to finish
- This original stereo pressing is the first copy to make it to the site in years – boy are these hard to find in this kind of clean condition with top quality sonics
- Rich, tubey and musical, the sound is wonderful for these live performances of two very different groups, one featuring Getz, the other Jobim
- 4 1/2 Stars: “Getz/Gilberto #2 holds its own with an appealing selection of fine jazz and bossa nova cuts.”
This original Verve Stereo pressing has the kind of Tubey Magical Midrange that modern records cannot even BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in a real jazz club, this is the record for you. It’s what Vintage Records are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
What is lost in these newly remastered recordings? Lots of things, but the most obvious and bothersome is TRANSPARENCY. And the loss of transparency in a live jazz club recording is practically the kiss of death.
AMAZINGLY Good Sounding Live Jazz
What both sides of this pressing 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 1964
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments of this stellar jazz group having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional space of the club
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 describe above, and for that you will need to take this copy of the record home and throw it on your table.
Getz Is the Man
Stan Getz is a truly great tenor saxophonist, the cool school’s most popular player. Over the years we have invested an insane amount of time and money in our search for Hot Stamper copies of this and other Getz albums.
We rarely have much to show for our efforts — certainly not in terms of quantity, as years can go by without a single record of his on the site — but we do have this copy, and it is killer.
These two sides can show you how lovely this music sounds when you stumble upon a copy that’s not poorly mastered or ruined by noisy vinyl.
The Odds Are Stacked
This is an All Time Jazz Classic and it’s a cryin’ shame that we can’t find more copies. Most copies of this album are in mono, perhaps as many as 80% of them, and we simply do not care for the sound of this music in mono. If you want to experience a live recording properly, you need space, ambience and imaging, three things at which the mono copies fail miserably.
And nine out of ten copies we see are simply not in the condition most audiophiles would find at all acceptable. Multiply 20% (the stereo copies) by 10% (the decent copies) and you’re left with a pool of 2% – one out of fifty — to pick from in order acquire enough copies with which to do a shootout — ouch.
Those are so pretty long odds, and they go a long way toward explaining why this is the first Hot Stamper pressing of this title to hit the site in more than a year.
If you love this Brazilian-flavored cool jazz as much as we do, you might want to snap this one up. Who knows when we’ll find another one?
Tonight I Shall Sleep With A Smile On My Face
Here’s That Rainy Day
Samba Da Minha Terra
Um Abraco No Bonfa
O Pato (The Duck)
Justifiably overshadowed by the peerless Getz/Gilberto album (which featured “Girl from Ipanema”) from a year before, Getz/Gilberto #2 still holds its own with an appealing selection of fine jazz and bossa nova cuts.
Unlike the first album’s seamless collaboration by Getz, João Gilberto, Astrud Gilberto, and Antonio Carlos Jobim, here Getz and João Gilberto turn in separate sets recorded live at Carnegie Hall in October of 1964. Backed by a stellar quartet comprised of vibraphonist Gary Burton, bassist Gene Cherico, and drummer Joe Hunt, Getz turns in a sparkling performance on the seldom covered ballad “Tonight I’ll Shall Sleep with a Smile on My Face,” while stretching out nicely on his original blues swinger “Stan’s Blues.”
With the support of bassist Keeter Betts and drummer Helcio Milito, Gilberto displays his subtle vocal and guitar talents on a set of bossa nova favorites, including his own “Bim Bom” and Jobim’s “Meditation.”