Getz/Gilberto #2 (Remastered) Stan Getz & João Gilberto

• 1 Grandfather's Waltz 04:57
• 2 Tonight I Shall Sleep With A Smile On My Face 02:44
• 3 Stan's Blues 04:45
• 4 Here's That Rainy Day 04:00
• 5 Samba De Minha Terra 03:08
• 6 Rosa Moreno 04:05
• 7 Um Abraco No Bonea 02:52
• 8 Bim Bom 02:10
• 9 Meditation 04:01
• 10 O Pato (The Duck) 02:17
• Total Runtime 34:59

Info for Getz/Gilberto #2 (Remastered)

„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, Joao Gilberto, Astrud Gilberto, and Antonio Carlos Jobim, here Getz and Joao 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 performances 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.' An appealing title amongst Getz's many bossa nova outings, but not an essential one. Newcomers should definitely start with the Getz/Gilberto album before checking this one out.“ (Stephen Cook)

Stan Getz, tenor saxophone
Joao Gilberto, vocals, guitar
Astrud Gilberto, vocals
Gary Burton, vibraphone
Gene Cherico, bass
Keter Betts, bass
Joe Hunt, drums
Helcio Melito, drums

Recorded live at Carnegie Hall, New York, New York on October 9, 1964
Engineered by Rudy Van Gelder
Produced by Creed Taylor

Digitally remastered

Stan Getz
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.