When I get into debates with atheists, eventually the questions that come up are “Can you prove that God exists?” and “How can you not believe in Evolution?” Among arguments such as Joe DiMaggio’s 56 game hitting streak and Beethoven’s 3rd Symphony, one of the best ways to prove to non-believers the existence of an All Knowing, All Powerful and All Loving Holy God is to point them to Stan Getz. There is simply no way that naturalistic and random selection, matter and motion over time could have created anything so wonderful and sublime. These two albums released by Resonance Records scream for the existence of a Divine and Wise Creator who is bringing everything under his control. Any more existential problems out there?
Producers Zev Feldman, Todd Barkan and George Klabin deserve stars on Hollywood Blvd for resurrecting (there I go again with Biblical terminology!) these sessions from 1976. The famed tenor saxist was in the wake of his stellar albums The Peacocks and his bossa nova reunion album with Tom Jobim and Joao Gilberto The Best of Two Worlds. He had a West Coast touring band of Joanne Brackeen/p, Clint Houston/b and Billy Hart/dr, and this pair of albums finds his quartet captured at a week at San Francisco’s Keystone Korner in May of 1976. One album has his band performing sublimely swinging sounds, while the second includes a rare guest appearance by Joao Gilberto that not only makes you believe in God, but in the Ascension, as this music is simply celestial.
Getz’s horn is in marvelous condition here, perfectly mellifluous, whether it be the graceful “Con Alma” or the sensuously samba’d “O Grande Amor.” Brackeen’s touch is a marvel, not afraid to go modal as on the hard driving “Summer Night” with the trio, but also creating silky drapery on a gorgeous pad de deux with Getz on “Prelude To A Kiss.” There are moments here where Get’s just lets his tone do the talking, like a five star Italian chef trusting the basic ingredients of tomatoes and pepper to form the perfect sauce. His laconic cries on ”Infant Eyes” and “Peace” have a sound that is palpable. Why would I bother listening to anyone else on tenor?
The intimate evening with Joao Gilberto sitting in with Getz’s band is one of those Our Town moments that you wish you could go back to in life. About half of the songs he delivers by himself and quiet chords on his guitar, producing a soto voce on “Aguas de Marco” that is a gentle rivulet of rhythm. He gets cozy and intimate with his guitar as Billy Hart sets down lovely taps on delectable pieces such as “Joao Marcelo” “Um Abraco No Bonfa” and uses his voice for either lyrics or percussion on graceful and lilting tunes such as “Samba de Minha Terra.” When gets joins in for obligatos and solos as on “Chega de Saudade” and two takes of “E Preciso Perdoar” the textures get as rich as roaring waves on a foggy beach. Gets sighs with delight on “Retrato em Branco e Preto,” not reliving, but pulsating forward, the music he pioneered over a decade before. Please tell me again why you’re listening to some other tenor saxist then Getz?
The copious notes from the two albums describe how Keystone Klub owner Todd Barkan recorded a surfeit of concerts at his club between 1971-83. So far, he’s allowed Resonance to release (along with these two) rich sessions by Freddy Hubbard and Jaki Byard & Tommy Flanagan. If the vintage liner booklet photo of the club which lists upcoming gigs by Joe Farrell, Phil Woods and Kenny Burrell along with an advertised show of Les McCann with Eddie Harris is any portend of things to come, we’ve got lots of excitement to look forward to.
These two are in the running for Albums of the Year. Track them down!
Resonance Records