Resonance Records has recently tapped the archives of the fondly-remembered San Francisco jazz spot Keystone Korner for two valuable additions on compact disc and vinyl to the Stan Getz discography. The late tenor saxophone legend's appearances at the nightspot between May 11 and 16, 1976 have been culled to create two new albums. Moments in Time preserves nine performances from Getz's core sets, while its companion is even more special. Getz/Gilberto '76 is a new entry to the small but significant collaborative discography of Getz and Brazilian guitarist-singer João Gilberto. '76, featuring Gilberto's guest appearances during Getz's gigs, can rightfully take a place alongside Getz/Gilberto (1964), Getz/Gilberto # 2 (1966) and The Best of Two Worlds (1976).
There's real magic on Getz/Gilberto '76. As on Getz/Gilberto # 2, a 1964 live recording from Carnegie Hall originally released in 1966, some selections feature Getz and Gilberto; some just have Gilberto. (Getz's selections sans Gilberto can be found on the companion Moments in Time.) Getz's inventive, exploratory trio - Joanne Brackeen on piano, Clint Houston bass and Billy Hart on drums - accompany these twelve performances with tremendous subtlety to match Gilberto's singularly intimate yet inviting guitar-and-vocals style as well as Getz's sinuous solos. The resulting performances are as sweet, gentle and beguiling as expected. Though the saxophonist had explored other avenues in the ensuing years, his billowy tenor fell comfortably back into the slinky bossa nova grooves, conjuring a familiar tone and setting.
About half of the songs heard here were also recorded by Getz and Gilberto for their Columbia release The Best of Two Worlds (which would be released that fall but had been recorded a year earlier), including two from Antonio Carlos Jobim. His songs, of course, had defined the groundbreaking, original Getz/Gilberto. ("The Girl from Ipanema," however, is absent.) Best of all is Gilberto's solo rendition of the haunting lyrical collage "Aguas de Marco" ("Waters of March"), one of Jobim's great post-1960s standards. The lesser-known "Retrato en Branco e Prieto" ("Picture in Black and White") has a hypnotic feel that harkens back to "Corcovado." A third Jobim song played at Keystone Korner did not appear on Best of Two Worlds. "Chega da Saudade" is often recognized as the first bossa nova song. With his 1959 rendition, João Gilberto was likely the second artist to record it. His genial rapport with Getz is evident on the song titled "No More Blues" in English, and both men certainly delivered on the promise of that title.
Getz/Gilberto '76 also boasts three compositions from Dori Caymmi including a reprise of "Doralice" from Getz/Gilberto and two from # 2, the lovely "Rosa Morena" and the breezy "Samba da Minha Terra." The composer credits on '76 add up to a virtual "Who's Who" of the great Brazilian songwriters; also heard on the Keystone Korner stage were songs from Gilberto Gil ("Eu Vim da Bahia") and Ary Barroso ("Morena Boca de Ouro"). Gilberto played a couple of his own memorable compositions, as well: the instrumentals "Joao Marcelo" and "Um Abraço No Bonfá."
The elegant companion volume Moments in Time even more fully captures leader Getz and his band in peak form, functioning as one as they romp through Getz's various musical genres. Harry Warren and Al Dubin's opening "Summer Night" cedes from a languid, noir-ish rubato introduction to a freewheeling, freshly inventive excursion through bop and swing. Brackeen's fleet improvisations are particularly tasty on this standard.
On Moments in Time, Getz strikes a fine balance between the old and the new. Of particular interest to Getz/Gilberto fans may be the obligatory bossa track. Getz introduced Jobim's "O Grande Amor" on Getz/Gilberto and revisited it in 1967 on the album Sweet Rain with Chick Corea, Ron Carter and Grady Tate. The familiar contours of a lilting Jobim melody are evident on the Moments performance, but Getz and Brackeen's approach is a forceful one, anchored solidly by Houston and Hart. Dizzy Gillespie's dynamic, shifting "Con Alma," was also reprised from Sweet Rain as a Latin-style showcase.
Of the more recent material in the set, Getz had not previously recorded the ballad "Infant Eyes" from another tenor saxophone hero, the slightly-younger Wayne Shorter. It's rendered in smoky, sultry and slow-burning fashion. Getz also interjected a bit of current, seventies-style jazz-funk on the Kenny Wheeler composition Getz called "Cry of the Wild Goose," displaying Hart's assured drumming and the band's tight interplay and swagger.
Getz also dipped into the past for a number of selections. Horace Silver, who had rose to fame in Getz's band in the 1950s, authored the ballad "Peace." The song finds Getz's playing at its most lyrically reflective, while Duke Ellington's classic "Prelude to a Kiss" brings out his romantic side. Another standard closes out the album, Jimmy Rowles and Johnny Mercer's lightly swinging "Morning Star."
Both Getz/Gilberto '76 and Moments in Time have been lavishly packaged by Resonance. Within their digipaks, both releases boast thick booklets - 32 pages for the former, 28 pages for the latter. Both have numerous essays reflecting on the performances from various perspectives, including those of project co-producer Zev Feldman, Keystone Korner proprietor Todd Barkan, jazz scholars James Gavin (for Getz/Gilberto) and Ted Panken (for Moments), band members Billy Hart and Joanne Brackeen, and Stan's son Steve Getz. In a fine, classy touch, G/G '76 is adorned with distinctive artwork by Olga Albizu, the cover artist of the original Getz/Gilberto LPs. The sound has been restored by Fran Gala and George Klabin, and mastered by Gala, for both titles. Both of these live albums stand alone as engaging listening experiences, but they are doubtless best enjoyed as a pair. But alone or together, the grooves conjured by Getz, Brackeen, Houston and Hart are altogether transporting.
To order:
Stan Getz and Joao Gilberto, Getz/Gilberto '76: Amazon U.S. / Amazon U.K. / Amazon Canada
Stan Getz, Moments in Time: Amazon U.S. / Amazon U.K. / Amazon Canada
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I'm surprised this review contains no mention of the sound quality (except to say it has been "remastered," which says nothing). Resonance basically issues bootlegs; isn't the sound worth more than a cursory mention? One Amazon reviewer trashes the sound on the Getz/Gilberto disc.
Sorry to disappoint, Terry. As I've stated here many times in the past to curious readers, this isn't an audiophile website. There are other review sites and forums out there that address sound quality in the kind of detail that you seek and that we're simply not able to provide for most titles. Similarly, you won't find much in-depth discussion of sound quality in the reviews of Mojo, Uncut, Record Collector, Rolling Stone or The AllMusic Guide, either. I wouldn't compare The Second Disc to those publications, but it's very much a conscious decision in many of our reviews - as in theirs - to address sound quality but not focus on it. (As far as these releases go, they're not studio-quality, as you know. Resonance always makes its sources very clear. The live tapes utilized certainly aren't bootlegs, however, as they are authorized by the respective artists and estates. I found both releases eminently listenable and completely enjoyable. Others might not.) When reviewing titles designed for the audiophile market, of course, it's a different story. I hope you can find other information you're seeking here, and most importantly, thank you for reading!
Joe, I'm not so sure as you are about this not being "an audiophile website". Certainly, if you look at the questions/comments posted by readers, I'd say that 90% pertains sound quality. The "Second Disc", for its nature, deals mostly with reissues (I'm speaking in general, not about this review) so most of the time music fans already know if the music is any good, and the only thing that really matters is having some insight about sound quality, that little extra-info you don't get from the blurb or the press releases... the kind of info labels are usually a bit reluctant to share. Because I have to agree with Terry, saying it's "mastered" doesn't actually say anything, in order to release a CD you have to master it, there's no way around that.
And yes, usually I don't really trust Resonance with their releases either.
Unfortunately, the focus here isn't going to change for the great majority of releases we cover. From Day One, it hasn't been our intention to replace, say, the Steve Hoffman Forums or the Both Sides Now forum for detailed discussion of waveforms, compression, "brickwalling," etc. Those sites and others are valued resources to us, too. We hope our approach has something else to offer. If you feel we're not sufficiently delving into sound quality in the kind of the depth you'd like, there are always other alternatives. Thanks as always for reading.
Nobody's asking a discussion about waveforms, God forbid. I for one don't want to go there. But that little extra research, that little extra information about the source being used, be it actual tapes or digital files etc, or taking a stand as a reviewer and telling us your opinion about the sound, I think that's what makes the difference in a site dealing with reissues, that's what it's all about really. Because most of the times we're already familiar with the content, often we already own it on multiple formats... And no, there are not that many alternatives actually... it's very difficult to come across info which is more than just a copy/paste of the label's press release... that's why sites like Second Disc are so valuable... so keep up the good work and keep delving!
Exactly. I have NEVER thought of The Second Disc as any type of audiophile site. They will often mention the sources, indicate if they are from the master tapes, remastering, etc. This is not the Steve Hoffman site which, if you want detailed information - and various opinions - about sound, visit that site (it is useful).
This site is about the reissues themselves, and the bonus content, if applicable. I appreciate the Second Disc's dedication to bringing attention to different types of genres and releases, especially soundtracks which seem to be a niche market in my opinion.
Thanks, Tom! We truly appreciate your support!
For me the verification "remastered" actualy means a big deal. Top of my head I can only remember once when that appellation didn't prove to be an improved sound quality and that was the treatment Essential Records gave to The Kinks in the late 90's, a painfull shrill and sharp sound (better editions has luckily arrived later on).
Actually, there are plenty of instances when "remastering" has meant inferior quality, compressed sound compared to previous releases. Some glaring examples include Pretenders, Robert Palmer, New Order (etc) where the labels, when pressed, had to admit to using not-pristine sources such as digital compressed files or even straight from vinyl. Funnily, they tend to overlook this sort of information on their press releases. This is exactly the kind of extra info I'd like to find on a site such Second Disc. The kind of info I don't find on the blurb or on the liner notes. Just my two cents.
I have not heard those examples that you mention myself but when Terry says that"remastering" says nothing I have a very different experience. "Remastering" I associate with to return to the master tapes and work from there. The word "mastering" as youself used I don't think means the same thing. I'm not a sound technical expert but with the exception of those Kinks-CD:s all the ramastered editions I ever bought, and that's quite a few, the sound is clearly better.
Well, that's also my idea of remastering, but unfortunately that's not what's happening in the real world. In the real world, reissues are often not from original tapes,because leasing the master tapes is often costly, or not feasible, or there are legal issues attached. That's why whenever we talk about reissues, the more important information you need, by far, is about the source being used. About the content, info is easily available anywhere, because that's the kind of info labels are eager to share. It's much harder to get info about the source, and you can guess why.
I'm with Andrea. The recording industy uses "Remastered" the way other industries use "New and Improved!" and "New Formula!" for so many other consumer products. It can mean anything -- or nothing. What matters most is the quality of the source used to create the new master.
And we should all bear in mind that this website is devoted to promoting product, not critiquing it. Virtually all the "reviews" are glowing.
There are many equally important factors involved in remastering, including the skill of the engineer, the desire from the artist or producer to achieve a particular sonic quality, and yes, of course, the condition of the source. I think my record on sound quality speaks for itself; simply check out the titles on our own Second Disc Records imprint. That said, our aim here isn't to conduct "exposés" on sources, as has been previously stated.
Regarding your characterization of the site as "devoted to promoting product," you're absolutely right in the sense that The Second Disc was founded to celebrate - or promote - the music of the past, and to keep readers informed on titles that otherwise might receive little to no press coverage. But the only product we're "promoting" (other than our own releases, of course!) is the health and well-being of a corner of the music industry that is too often written off as dying. There's enough negativity elsewhere. We're here to celebrate the catalogue music world, and we have the great luxury of only reviewing the titles we choose. If that leads many of our reviews to be "glowing," so be it. When a project genuinely disappoints, we certainly do critique it...but we aim to do so in a constructive and level-headed manner that, quite frankly, we feel is missing from many other corners of the 'net. Nobody sets out to create an inferior project...whether in music or any of the creative arts. In fact, most people I've met in this industry consider their work to be a labor of love, and have learned to withstand the brickbats when the sound or the song choice or the packaging disappoints.
If the approach we take here at The Second Disc isn't to your taste, there are other resources out there. Thanks for reading and sharing your thoughts.