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Getz & Gilberto, No. 2

João Gilberto & Stan Getz

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Album Review

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." The CD reissue also includes a couple of additional live vocal cuts featuring Astrud Gilberto, including somewhat lifeless versions of "Corcovado" and "Girl From Ipanema" from the Carnegie Hall concert, and inspired readings of "It Might As Well Be Spring" and "Only Trust Your Heart" from the club recording Getz Au Go Go. 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.

Biography

Born: 10 June 1931 in Salvador, Bahia, Brazil

Genre: Bossa Nova

Years Active: '50s, '60s, '70s, '80s, '90s, '00s

When talking about bossa nova, perhaps the signature pop music sound of Brazil, frequently the first name to come to one's lips is that of Antonio Carlos Jobim. With songs like "The Girl From Ipanema" and "Desafindo," Jobim pretty much set the standard for the creation of the bossa nova in the mid-'50s. However, as is often the case, others come along and take the genre in a new direction, reinventing through radical reinterpretation, be it lyrically, rhythmically, or in live performance, making...
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