- An outstanding copy with solid Double Plus (A++) sound or BETTER from first note to last
- This kind of spacious, warm, rich, Tubey Magical analog sound is gone forever – you have to go back to 1966 to find it
- Creed Taylor (the CTI man) produced, Gil Evans did most of the arrangements, Rudy Van Gelder and Val Valentin engineered – what’s not to like?
- 4 1/2 stars: “This was a beautiful bossa nova record of Astrud Gilberto’s vocal stylings…”
Sonic Grade: C
Another Audiophile Pressing reviewed.
This is a Minty looking Verve Japanese Import LP. It’s not competitive with the best domestic pressings but you could definitely do worse. Trying to find domestic copies that aren’t trashed is virtually impossible, so if you’re a click and pop counter, this copy may be the ticket! Stan Getz is a truly great tenor saxophonist, the cool school’s most popular player. This LP is all the evidence you need. Side 1 has those wonderfully relaxed Brazilian tempos and the smooth sax stylings of Stan Getz.
Side two for me is even more magical. Getz fires up and lets loose some of his most emotionally intense playing. These sad, poetic songs are about feeling more than anything else and Getz communicates that so completely you don’t have to speak Portugese to know what Jobim is saying. Call it cool jazz with feeling.
- This outstanding copy of Gilberto’s 1971 collaboration with Turrentine boasts solid Double Plus (A++) sound from start to finish
- It’s rich, warm and natural with wonderful transparency, loads of ambience and – this is key – plenty of Tubey Magic
- Rudy Van Gelder did an outstanding job as usual engineering these 1971 sessions – his live-in-the-studio approach is tough to beat
- “The real treasures of this album though are the outstanding arrangements by Eumir Deodato, who once again proves he is the master of this type of music. Nearly every track is full of interesting, complex, yet beautiful instrumentation. He blends mellow low strings with lots of Fender Rhodes electric piano, plenty of electric and acoustic guitar, and a wide variety of Brazilian percussion instruments.”
This vintage CTI pressing has the kind of Tubey Magical Midrange that modern records rarely 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 the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound. (more…)
A classic case of We Was Wrong. Many years ago we had written:
Of course, you would never know this is a good recording by playing the average domestic copy. This Japanese LP is one of the few pressings that can show you that this wonderful smoky night club jazz LP really can have Demo Disc sound.
Ridiculous, right? Well, at the time we believed it. Now our understanding is quite a bit more sophisticated, in the sense that the Japanese pressing is clearly better than most originals, not all of them.
More importantly, there are amazing sounding domestic reissues of the album that we’ve auditioned over the last ten years or so that really blew our minds and helped to set an even higher standard for the sound of Getz Au Go Go.
Our old story: (more…)
- 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. (more…)
- With seriously good Double Plus (A++) sides or close to them, this Van Gelder mastered copy was one of the best we played in our shootout (but the vinyl is iffy at best)
- The sound here has real texture to the strings and breath to the vocals, key elements if this music is going to work
- 4 1/2 stars: “The Astrud Gilberto Album was at least as good as Getz/Gilberto (despite what jazz fans say), for several reasons. Gilberto sounded beautiful on a range of material, from the sentimental “Dindi” to the playful “Agua de Beber,” and as long as intelligent musicians were playing to her strengths (as they do here), the results were splendid.”
If you can tolerate the slightly noisier surfaces of this pressing you are in for some amazing music and sound. If for any reason you are not happy with the sound or condition of the album,we are of course happy to take it back for a full refund including the domestic return postage.
This is an early stereo LP – the monos may be five times more common, but every last one we played was awful!
Check out this list of top jazz players:
Astrud Gilberto – vocals
Antônio Carlos Jobim – vocals, guitar (track 2)
João Gilberto – guitar
Joe Mondragon – bass
Bud Shank – alto sax, flute
João Donato – piano
Stu Williamson – trumpet
Milt Bernhart – trombone
- An outstanding copy of this superb collaboration with solid Double Plus (A++) sound from first note to last
- Both sides are rich, sweet and Tubey Magical with wonderfully breathy vocals, excellent clarity and solid down low
- “Wanderley’s organ playing is as enthusiastic and fluffy as ever, while Gilberto’s singing (in both English and Portuguese) remains smile-inducing. Both manage to create an incredibly warm sound, and when Wanderley plays some piano (as on the beautiful “A Certain Sadness”), you can sense a spark between the two.”
The space is HUGE and the sound so rich. The vocals have dramatically less hardness and the orchestra sounds right for once. Prodigious amounts of Tubey Magic as well, which is key to the best sounding copies. The sound needs weight, warmth and tubes or you might as well be playing a CD.
If you don’t like at least some reverb on your vocals, this album is probably not for you. The standard recording approach for Male and Female Vocals in the ’50s and ’60s was to add reverb to them. Sometimes it sounds right and sometimes it’s too much. For “too much” play some of Nat King Cole’s records from the era to hear what I mean. (Try “Those Lazy-Hazy-Crazy Days of Summer” from 1963 if you want a good place to start.)
Like any processing of the sound in the studio — compression, limiting, reverb, EQ, etc. — it can be used with taste and discretion and make the recording better, or it can be overdone and ruin everything. For our part we think Astrud Gilberto’s recordings use reverb more or less tastefully. And of course there sure aren’t going to be any versions of this music coming along any time soon without the added echo. Getting the reverb to sound right is one of the things a good Hot Stamper has to do on a record like this. (more…)
Another in our series of Home Audio Exercises.
This album is useful as a test disc. The third track on side 2, The Telephone Song, has a breathy vocal by Astrud, soon followed by Getz’s saxophone solo. If those two elements in the recording are in balance, your system is working, tonally anyway.
Presenting another entry in our extensive Listening in Depth series.
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 is one of Rudy Van Gelder’s greatest recordings. I think it’s as good as it is because he was out of his studio (mostly) and had to revert to Recording 101, where you set up some good mics and get the thing on tape as correctly as you can. There’s hardly a trace of his normal compression and bad EQ on this album. (The sax is problematical in places but most everyone else is right on the money.) (more…)
- An outstanding copy of Beach Samba, with solid Double Plus (A++) sound or BETTER from top to bottom
- The soundstage is huge, and the overall quality of the recording is big and bold like you will not believe
- Creed Taylor (the CTI man) produced, Don Sebesky and Deodato did the arrangements, and Val Valentin engineered – what’s not to like?
- “This 1967 Verve LP has the breezy bossa novas and sambas Astrud was famed for, but also a Lovin’ Spoonful duet with her young son and some seriously impressive scatting, too.” – Amazon