- Mulligan and Getz’s 1957 collaboration arrives on the site with this superb 2-pack offering Nearly Triple Plus (A++ to A+++) sound on both sides – just shy of our Shootout Winner
- Full, rich, and spacious with tons of Tubey Magic and, better yet, not the least bit dry, hard or transistory
- Practically impossible to find in stereo with audiophile playing surfaces – it took two different pressings to get two good sides, and they are very good indeed
- “Produced by [Norman] Granz, Getz And Mulligan In Hi-Fi captures the two saxophone giants as they showcase a world class duet which provided them with a superb rhythm section featuring Lou Levy, proud member of The Stan Getz Quartet at the piano who play with impeccable style and well-conceived ideas that swing with unique vitality, while Ray Brown’s bass solidify the combo’s edge.”
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.
- A stunning copy of Jazz Samba with Shootout Winning Triple Plus (A+++) sound or close to it from start to finish
- Exceptionally spacious and three-dimensional, as well as relaxed and full-bodied – this pressing was a noticeable step up over practically every other pressing we played
- 5 stars: “[Jazz Samba] was the true beginning of the bossa nova craze, and introduced several standards of the genre… But above all, Jazz Samba stands on its own artistic merit as a shimmering, graceful collection that’s as subtly advanced — in harmony and rhythm — as it is beautiful.
- 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. (more…)
- Getz’s superb 1962 release finally arrives on the site with outstanding Double Plus (A++) stereo sound or BETTER from start to finish – and the vinyl plays about as quietly as any vintage Verve ever does
- Speakers Corner produced an unimpressive remaster on Heavy Vinyl years ago, and there are probably plenty of newer pressings that have come out since then, but none of them can begin to compete with the All Analog sound of this very pressing
- 4 stars: “Fresh from the sudden success of Jazz Samba and “Desafinado,” Stan Getz asked the 28-year-old, strikingly gifted Gary McFarland to arrange a bossa nova album for big band as a follow-up. Getz is always his debonair, wistful, freely-floating self, completely at home in the Brazilian idiom that he’d adopted only a few months before.”
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…)
- This original Black Print 360 pressing was one of the best we played in our recent shootout, earning Double Plus (A++) grades on both sides and playing quietly
- Stan Getz is the real standout on this album, a very pleasant surprise for us since his exceptionally good recordings of his music are so hard to find
- Another example of the phenomenal sound quality found on so many recordings made at CBS’s 30th street studios in New York
- “Stan Getz, known for his ‘lyrical’ style, is in top form throughout and brings out the best of his cohorts, including two young musicians, Gary Burton on vibes and Herbie Hancock on keyboards…”
If you like the sound of relaxed, tube-mastered jazz — and what red blooded audiophile doesn’t — you can’t do much better than Bob Brookmeyer And Friends. The warmth and immediacy of the sound here are guaranteed to blow practically any jazz septet record you own right out of the water.
Getz and Burton have always been magical together. Their work on Getz Au Go Go is legendary. Every time I play that record I am astonished at how good it is, one of those very special jazz recordings that are easy to get lost in. (more…)
- This 1968 jazz classic boasts outstanding Double Plus (A++) sound from first note to last
- Stan interprets these songs beautifully – for those who don’t mind a bit of easy listening from time to time, this is music worth playing
- Another top jazz recording from Rudy Van Gelder – big, bold and lively, just the right sound for this music
- “Forget those snobs who dismiss this album, Getz does a wonderful job interpreting some of Bacharach’s hits. He ‘jazzes’ up ‘A House is not a Home’ with a nice upbeat tempo and ‘Alfie’ is lush with his wonderful tenor sax.”
As expected, if you clean and play enough copies of a standard domestic major label album like this Verve, sooner or later you will stumble upon a good one. The best copies are filled with studio ambience, with every instrument occupying its own space in the mix and surrounded by air. On those pressings, there is not a trace of grain, just the silky sweet highs we’ve come to expect from analog done right.
This is, of course, the premise behind Hot Stampers themselves. They are out there to be stumbled upon. You can’t tell what pressing, from what era, from what country is going to be The One (Keanu, are you listening?) until you actually sit down, clean and play a big pile of them.
This vintage Verve 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.
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 the best sides of What The World Needs Now 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 1968
- 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.
Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren’t veiled or smeary of course. So many things can go wrong on a record! We know, we’ve heard them all.
Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.
Tube smear is common to most vintage pressings and this is no exception. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.
What We’re Listening For on What The World Needs Now
- Energy for starters. What could be more important than the life of the music?
- 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.
The Players and Personnel
Jim Buffington – French horn
Jerome Richardson – woodwinds
Chick Corea, Herbie Hancock – piano
Kenny Burrell, Jim Hall, Phil Upchurch – guitar
Gloria Agostini – harp
Walter Booker, Ron Carter – bass
David Carey – vibraphone
Bill Horwath – cimbalom
Roy Haynes, Grady Tate – drums
Paul Gershman, David Mankovitz, David Nadien, Gerald Tarack – violin
Bernard Zaslav – viola
Charles McCracken – cello
Additional unidentified brass, strings and chorus arranged and conducted by Claus Ogerman and Richard Evans
Wives And Lovers
Windows Of The World
The Look Of Love
Any Old Time Of The Day
In Times Like These
A House Is Not A Home
Trains And Boats And Planes
What The World Needs Now Is Love
In Between The Heartaches
Walk On By
Forget those snobs who dismiss this album, Getz does a wonderful job interpreting some of Bacharach’s hits. He “jazzes” up A House is not a Home” with a nice upbeat tempo and “Alfie” is lush with his wonderful tenor sax. No, this isn’t Getz with Gilberto swooning “Girl from Impanema”, but it’s still classic Getz. I’m listening to this on vinyl and it’s a beautifully recorded album. Put it on as background music during a house party and watch your guests sway to “In Between the Heartaches” or start to sing “Walk On By” while doing the rumba! Buy this album and enjoy the wonderful tenor sax as only Getz can play it.
- 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.”