This album features never before released music recorded in 1976 at San Francisco’s Keystone Korner. It features the Stan Getz Quartet with tenor saxophonist Stan Getz and his rhythm section of pianist Joanne Brackeen, bassist Clint Houston and drummer Billy Hart. It was recorded the same week as Getz/Gilberto ’76 and features Stan Getz’s same adventurous rhythm section. Moments in Time and Getz/Gilberto ’76 document the only time this dynamic quartet recorded together.
The PDF booklet includes essays by Ted Panken, Steve Getz, Joanne Brackeen (pianist), Billy Hart (drummer), and producers Zev Feldman & Todd Barkan along with some rare unpublished photographs. The release has been endorsed by the Stan Getz Estate. The album cover is beautifully designed by the acclaimed Japanese artist Takao Fujioka.
Ted Panken describes Moments in Time as capturing the artists on this recording as a “unit of thirty-something masters-in-the-making.” Keystone’s Barkan recalls: “Stan explained to me quite a few times backstage at Keystone Korner that ‘I have never felt as free and as totally supported as I do with this band with Joanne Brackeen, Clint Houston, and Billy Hart. They are happy and free to go with me wherever I go . . .'” Barkan relates that Getz frequently told him that he felt the most comfortable at the famed San Francisco club, more than he did at any other club.
Brackeen talks about playing with Getz in her interview with Feldman: “I think that it kind of really also displays the quartet at its best, which we rapidly became and stayed. And he had to be really daring to hire us. He already had his thing. He was already famous. He didn’t have to have this band. And this band was crazy! I mean, we would do anything and everything we possibly could. We weren’t just there as accompaniments . . . And then you hear how he played on it, it’s so lyrical. He doesn’t play one note that he doesn’t mean. At any time. That’s the one thing I guess that I would say about him that was so unique to me. And he also talked that way, when he was speaking.”
The release features eight tracks, including Antonio Carlos Jobim’s “O Grande Amor,” Wayne Shorter’s “Infant Eyes,” Horace Silver’s “Peace,” Dizzy Gillespie’s “Con Alma,” Jimmy Rowles’s “Morning Star” and others. These tunes were staples of Getz’s repertoire and remained so for many years.
In his contribution to the album package for Moments in Time, saxophonist Joshua Redman pays homage to Getz: “His virtuosity,? he could play any tune in any key at any tempo, with command and control and a sense of relaxation.” And he further celebrates Getz’s”. . . incredible storytelling ability ? the natural, organic logic in the flow of his phrases and ideas.” We are pleased to unearth these notable historic recordings of Stan Getz/João Gilberto and the Stan Getz Quartet and to share them now with the public.
Total time: 01:04:52
Merging Horus and HAPI Analog to DSD Converters with dCS Vivaldi Clock
René Laflamme – Analog Tape to DSD 256 Transfer
For the 2xHD transfer of this recording, the original 1/4", 15 IPS NAB Master Tape was played on a Nagra-T modified tape machine with high-end tube playback electronics, wired with OCC Silver Cable from the playback head direct to a Telefunken EF806 Tube. The Nagra-T has one of the best transports ever made, having four direct drive motors, two pinch rollers and a tape tension head.
We did an Analog Transfer to DSD256 (11.2mHz) using Merging Horus and HAPI A/D converters and a dCS Vivaldi Clock. Each format (DSD 2.8mHz, DSD 5.6 mHz and DSD 11.2 mHz) was created from that transfer.
|Original Recording Format|
Zev Feldman, Todd Barkan
Keystone Korner, San Francisco, California
|Recording Type & Bit Rate||
Analog to DSD128
|Release Date||September 9, 2016|
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