Review by Lindsay Planer
Although the name Stan Getz (tenor sax) was initially synonymous with the West Coast cool scene during the mid-to-late 1950s, he likewise became a key component in the Bossa Nova craze of the early 1960s. Along with Astrud Gilberto (vocals), Getz scored a genre-defining hit with the "Girl From Ipanema," extracted from the equally lauded Getz/Gilberto (1963). While that platter primarily consists of duets between Getz and João Gilberto (guitar/vocals), it was truly serendipity that teamed Getz with João's wife Astrud, who claims to have never sung a note outside of her own home prior to the session that launched her career. Getz Au Go Go Featuring Astrud Gilberto (1964) was the second-to-last album that he would issue during his self-proclaimed "Bossa Nova Era" -- the final being Getz/Gilberto #2 [Live] (1964) concert title from Carnegie Hall. In many ways, that is a logical successor to this one, as both include the "New Stan Getz Quartet." The band features a young Gary Burton (vibraphone), Kenny Burrell (guitar), Gene Cherico (bass), and Joe Hunt (drums). As is typical with jazz, there are a few personnel substitutions, with Helcio Milito (drums) and Chuck Israels (bass), respectively, filling in on nearly half the effort. As the name of the disc intimates, this recording hails from the venerable Greenwich Village venue, the Café Au Go Go, in mid-August of 1964 -- two months after "Girl From Ipanema" became a Top Five pop single. However, the focus of Getz Au Go Go steers away from the Brazilian flavored fare, bringing Astrud Gilberto into the realm of a decidedly more North American style. That said, there are a few Antonio Carlos Jobim compositions -- "Corcovado (Quiet Nights of Quiet Stars)" and "One Note Samba" -- both of which would be considered as jazz standards in years to follow -- as well as the lesser-circulated "Eu E Voce." Getz and crew gather behind Richard Rodgers and Oscar Hammerstein's "It Might as Well Be Spring," and the scintillating instrumental "Summertime," from Porgy & Bess. Other equally engaging cuts include affective vocal readings of "Only Trust Your Heart," and the diminutive, yet catchy "Telephone Song." There is also some great interaction between Getz and Burton on "Here's to That Rainy Day." Getz Au Go Go is highly recommended for all dimensions of jazz enthusiasts.
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Reseña de Lindsay Planer
Aunque el nombre Stan Getz (saxo tenor) fue inicialmente sinónimo de la escena cool de la Costa Oeste a mediados y finales de la década de 1950, también se convirtió en un componente clave en la locura de la Bossa Nova a principios de la década de 1960. Junto con Astrud Gilberto (voz), Getz obtuvo un éxito que definió el género con la "Girl From Ipanema", extraída del igualmente elogiado Getz/Gilberto (1963). Mientras que esa bandeja consiste principalmente en dúos entre Getz y João Gilberto (guitarra/canto), fue una verdadera casualidad que Getz se uniera a la esposa de João, Astrud, quien afirma no haber cantado nunca una nota fuera de su propia casa antes de la sesión que lanzó su carrera. Getz Au Go Go Featuring Astrud Gilberto (1964) fue el penúltimo álbum que publicaría durante su autoproclamado "Bossa Nova Era", el último de los cuales fue Getz/Gilberto #2[Live] (1964), título de concierto del Carnegie Hall. En muchos sentidos, es un sucesor lógico de éste, ya que ambos incluyen al "New Stan Getz Quartet". La banda cuenta con un joven Gary Burton (vibráfono), Kenny Burrell (guitarra), Gene Cherico (bajo) y Joe Hunt (batería). Como es típico del jazz, hay algunas sustituciones de personal, con Helcio Milito (batería) y Chuck Israels (bajo), respectivamente, llenando casi la mitad del esfuerzo. Como el nombre del disco lo indica, esta grabación proviene del venerable local de Greenwich Village, el Café Au Go Go Go, a mediados de agosto de 1964, dos meses después de que "Girl From Ipanema" se convirtiera en un sencillo pop de los Top Five. Sin embargo, el enfoque de Getz Au Go Go se aleja de la comida brasileña, llevando a Astrud Gilberto al reino de un estilo decididamente más norteamericano. Dicho esto, hay algunas composiciones de Antonio Carlos Jobim - "Corcovado (Noches silenciosas de estrellas silenciosas)" y "One Note Samba" - ambas consideradas como estándares de jazz en los próximos años - así como la menos difundida "Eu E Voce". Getz y su equipo se reúnen detrás de "It Might as well be Spring" de Richard Rodgers y Oscar Hammerstein, y del centelleante instrumental "Summertime" de Porgy & Bess. Otros cortes igualmente atractivos incluyen lecturas vocales afectivas de "Only Trust Your Heart" (Sólo confía en tu corazón) y la diminuta, aunque pegadiza, "Telephone Song" (Canción telefónica). También hay una gran interacción entre Getz y Burton en "Brindemos por ese día lluvioso". Getz Au Go Go es altamente recomendado para todas las dimensiones de los entusiastas del jazz.
Track listing
1 Corcovado (Antônio Carlos Jobim) – 2:51
2 It Might as Well Be Spring (Richard Rodgers, Oscar Hammerstein II) – 4:27
3 Eu e Voce (Carlos Lyra, Vinicius de Moraes) – 2:32
4 Summertime (George Gershwin, Ira Gershwin) – 8:11
5 6-Nix-Pix-Flix (Gary Burton) – 1:05
6 Only Trust Your Heart (Benny Carter, Sammy Cahn) – 4:41
7 The Singing Song (Burton) – 3:46
8 The Telephone Song (Roberto Menescal, Ronaldo Bôscoli, Norman Gimbel) – 1:57
9 One Note Samba (Jobim, Newton Mendonca) – 3:19
10 Here's That Rainy Day (Jimmy Van Heusen, Johnny Burke) – 6:15
Tracks 4–7, 9–10 recorded on May 22, 1964; tracks 1–3 and 8 on October 9, 1964.
Personnel
Stan Getz – tenor saxophone
Astrud Gilberto – vocals
Kenny Burrell – guitar (#1–3, 8 only)
Gene Cherico (#1–3, 5–8), Chuck Israels (#4, 9, 10) – bass
Gary Burton – vibes
Joe Hunt (#4–7, 9–10), Helcio Milito (#1–3, 8) – drums
Release Date: 1964
Duration: 39:07
Genre: Jazz
Styles:
Bossa Nova
Brazilian Traditions
Cool
Jazz Instrument
Saxophone Jazz
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