Stan Getz With Guest Artist Laurindo Almeida (Remastered) Stan Getz
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- 1Menina Moca (Young Lady)05:42
- 2Once Again (Outra Vez)06:42
- 3Winter Moon05:19
- 4Do What You Do Do04:35
- 5Samba Da Sahra (Sahra's Samba)04:55
Info for Stan Getz With Guest Artist Laurindo Almeida (Remastered)
Stan Getz’s fifth bossa nova LP was not a great sales success in the Sixties. The compositions were not at fault, nor was the somewhat forceful tone of the saxophone. More likely it was because the critics no longer regarded “New Wave” as new, and maybe they (unjustly) missed the melancholia of Astrud Gilberto’s singing on this album.
Yet the voice of Brazilian singer Laurindo Almeida is full of spontaneity and inspiration, it is assured, full of freedom and expressiveness, which is not often found in such an amalgamation of jazz and Brazilian drive.
What is more, Laurindo Almeida composed the musically strongest number on this compilation and added to that he is also a virtuoso classical guitar player. Stan Getz performs highly expressive solos, but remains jazzy and favours long drawn out improvisations. The recordings are all enhanced by the five-man percussion group which lends the numbers their unique character and special drive.
This is not an album to be ignored. It belongs in everyone’s collection, no matter whether in the jazz section or world-music section.
„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.“ (Richard S. Ginell)
Stan Getz, tenor saxophone
Laurindo Almeida, guitar
George Duvivier, bass
Jose Soorez, drums
Dave Bailey, drums
Edison Machado, drums
Luiz Parga, percussion
Jose Paulo, percussion
Recorded live at Webster Hall, New York, New York March, 1963
Engineered by Val Valentin
Produced by Creed Taylor
was a tenor saxophonist of the first rank who, while exploring and pursuing a purity of musical expression, maintained a large following. He attracted it early in his career with his recording of "Early Autumn" with the Woody Herman band in 1948, more or less sustained it during the Fifties (which were not always tranquil times for him), and then, in the early Sixties, expanded it as he helped introduce Brazilian bossa nova rhythms to jazz. With "Desafinado" and other tunes, Getz established a sound and a beat that appeared and soared on the charts that rank recordings by the number sold. When he died in 1991, he was one of the most esteemed jazz figures among musicians, critics, and general listeners. He gianed this acceptance despite never having compromised his art.
Although Getz played attractive compositions tastefully with harmonic and melodic sophistication, so too did many substantial musicians who never received much critical and popular acclaim. The primary reason for his greatness and his popularity lies elsewhere, in his tone. It is uniquely his. Big and pure and rich and definite, it possesses such an intrinsic appeal that master saxophonist and innovator John Coltrane proclaimed his envy of it — and Roost Records released a Getz album in the Fifties called, simply and accurately, The Sound.
Getz recorded his most sublime creations during his long affiliation with first the Clef and Norgran labels and then Verve Records, from 1952 to 1971.
This album contains no booklet.