Count Basie & His Orchestra – Pop Goes The Basie (1964)

FrontCover1.jpgPop Goes the Basie is an album by pianist and bandleader Count Basie featuring jazz versions of contemporary hits recorded in 1964 and originally released on the Reprise label.(by wikipedia)

This album might have received a five star rating but for track three. The singing on it sucks. In fact it almost ruined the album for me. The other tracks are big band arrangements of then current pop songs and meet Basie’s standards but if track three was omitted the album would be far better. Track three is a vile arrangement of Pretty Woman others tunes are: Your Cheatin’ Heart, The Huckle-Buck, Call Me Irresponsible, Walk Right in, Go away, Little Girl, Oh Soul Mio, Bye Bye Love, Do Wah Diddy, He’s Got the Whole World in His Hands, Shangri-la and At Long Last Love. (by A. C. Herrick)

But … it´s still a real good album by one of the greatest Big Bans in the history of Jazz … enjoy the power of Big Band Jazz !


Al Aarons (trumpet)
Count Basie (piano)
Louis Bellson (drums by 05, 09. + 12.)
Henderson Chambers (trombone on  01., 04., 05., 07., 09., 11. + 12.)
Sonny Cohn (trumpet)
Henry Coker (trombone on 02., 03., 06., 08. + 10.)
Wallace Davenport (trumpet)
Eddie “Lockjaw” Davis (saxophone)
Eric Dixon (saxophone)
Charlie Fowlkes (saxophone)
Freddie Green (guitar)
Al Grey (trombone on 01., 04., 05., 07., 09., 11. + 12.)
Bill Hughes (bass trombone)
Grover Mitchell (trombone on 02., 03., 06., 08. + 10.)
Sam Noto (trumpet)
Sonny Payne (drums on 01 – 04., 06. – 08., 09. + 11.)
Bobby Plater (saxophone)
Wyatt Reuther (bass)
Marshal Royal (saxophone)
Gordon Thomas (trombone on 02., 03., 06., 08. + 10.)
Leon Thomas (vocals)

Arranged and conducted by Billy Byers

01. Your Cheatin’ Heart (Williams) 2.35
02. Hucklebuck (Gibson/Alfred) 2.56
03. Oh, Pretty Woman (Orbison/Dees) 2.59
04. Call Me Irresponsible (van Heusen/Cahn) 2.49
05. Walk Right In (Cannon/Woods) 3.03
06. Go Away Little Girl (Goffin/King) 3.12
07. Oh Soul Mio (Byers) 3.10
08. Bye Bye Love (F.Bryant/B.Bryant) 2.34
09. Do Wah Diddy Diddy (Grennwich/Barry) 3.14
10. He’s Got The Whole World In His Hands (Traditional) 3.33
11. Shangri-La (Sigman/Malneck/Maxwell) 3.48
12. At Long Last Love (Porter/Katscher) 3.02



More from Count Basie:


Odetta – It’s A Mighty World (1964)

FrontCover1.jpgOne of the strongest voices in the folk revival and the civil rights movement, Odetta (Gordon) was born on New Year’s Eve 1930 in Birmingham, AL. By the time she was six years old, she had moved with her younger sister and mother to Los Angeles. She showed a keen interest in music from the time she was a child, and when she was about ten years old, somewhere between church and school, her singing voice was discovered. Odetta’s mother began saving money to pay for voice lessons for her, but was advised to wait until her daughter was 13 years old and well into puberty. Thanks to her mother, Odetta began voice lessons when she was 13. She received a classical training, which was interrupted when her mother could no longer afford to pay for the lessons. The puppeteer Harry Burnette interceded and paid for Odetta to continue her voice training.

When she was 19 years old, Odetta landed a role in the Los Angeles production of Finian’s Rainbow, which was staged in the summer of 1949 at the Greek Theatre in Los Angeles. It was during the run of this show that she first heard the blues harmonica master Sonny Terry. The following summer, Odetta was again performing in summer stock in California. This time it was a production of Guys and Dolls, staged in San Francisco. Hanging out in North Beach during her days off, Odetta had her first experience with the growing local folk music scene. Following her summer in San Francisco, Odetta returned to Los Angeles, where she worked as a live-in housekeeper. During this time she performed on a show bill with Paul Robeson.


In 1953, Odetta took some time off from her housecleaning chores to travel to New York City and appear at the famed Blue Angel folk club. Pete Seeger and Harry Belafonte had both taken an interest in her career by this time, and her debut album, The Tin Angel, was released in 1954. From this time forward, Odetta worked to expand her repertoire and make full use of what she has always termed her “instrument.” When she began singing, she was considered a coloratura soprano. As she matured, she became more of a mezzo-soprano. Her experience singing folk music led her to discover a vocal range that runs from coloratura to baritone.

Odetta’s most productive decade as a recording artist came in the 1960s, when she released 16 albums, including Odetta at Carnegie Hall, Christmas Spirituals, Odetta and the Blues, It’s a Mighty World, and Odetta Sings Dylan. (by Philip Van Vleck)


This LP by Odetta on RCA dates to around 1964 and never made it to CD . Odetta was part of the whole Dylan, Baez, Ochs, St Marie, Seeger 60s voice,but she always seemed more positive to me. With a huge, powerful voice, she sang of “love and things”. The title song puts later songs (the sappy “What a Wonderful World” comes to mind) to shame. But this album also includes a delightful version of “Froggy Went A-courtin.”  (by Richard Brickwell)

Odetta changed the music world and still stands as a powerful, unique voice. (by jwelkin)


Leslie Grinage (bass)
Bruce Langhorne (guitar)
Odetta (vocals, guitar)


01. It’s A Mighty World (Gordon) 2.22
02. I’ve Been Told (Traditional) 2.48
03. Reminiscing (Traditional) 2.23
04. Hush Hush Mamie (Traditional) 2.11
05. Camphorated Oil (Traditional) 1.34
06. Bull Jine Run (Traditional) 2.11
07. Come A Lady’s Dream (Traditional) 1.48
08. Sweet Potatoes (Traditional) 2.02
09. Chevrolet (Young) 2.46
10. Love Proved False (Traditional) 4.24
11. One Man’s Hands (Comfort/Seeger) 3.52
12. Got My Mind On Freedom (Traditional) 3.59




The Voice of Civil Rights Movement:

Odetta (December 31, 1930 – December 2, 2008)

Bent Fabric – Music To Dance By (1964)

FrontCover1.JPGBent Fabricius-Bjerre (born 7 December 1924), better known internationally as Bent Fabric, is a Danish pianist and composer.

Bent Fabricius-Bjerre was born in Frederiksberg, Denmark. He started a jazz ensemble after World War II and founded a label, Metronome Records, in 1950. However, he is best known for his 1961 instrumental “Omkring et flygel” (literally, “Around a Piano”) which became a hit in Denmark. The song was re-released worldwide under the name “Alley Cat” on Atco Records the following year, and went to #1 in Australia and #49 in Germany. The tune also became a hit in the United States; the song hit #2 on the AC chart and #7 on the Billboard Hot 100, and the LP of the same name hit #13 on the Billboard 200. “Alley Cat” also won a Grammy Award for Best Instrumental. It sold over one million copies, and was awarded a gold disc. The follow-up single, “Chicken Feed”, hit #63 in the U.S.

Bent Fabric01.jpg

Fabricius-Bjerre had done extensive work in film scores prior to the success of his singles, and continued to work in film for decades after. In 2003, Fabricius-Bjerre returned to the charts, this time in his native Denmark. He released the album Jukebox as Bent Fabric, where he worked with critically acclaimed Danish musicians. The singles “Jukebox” hit #3 in Denmark and “Shake” hit #10 that year. In 2006, a remix of “Jukebox” was released, and the title track became a dance music hit, peaking at #7 on the US Dance/Club Play charts. The album was also re-released in the United States, this time Bent Fabric02.jpgfeaturing a remix of his famous instrumental song “Alley Cat”, among others.

In 2005 he released the compilation album, Kan du kende melodien (literally Do you recognize the melody) featuring some of his most famous and recognized film and TV scores.

On 6 December 2009, the day before his 85th birthday, Fabricius-Bjerre played host to a gala-performance of a theatrical concert featuring 24 of his songs. It was performed at the Royal Danish Theatre by a cast of 12 performers, all of whom graduated from the Danish Academy for Musical Theatre. It was developed under The Danish New Works Development Center, Uterus, and directed and choreographed by Tim Zimmermann. Martin Konge was MD. (by wikipedia)

Although pianist Bent Fabric (born Bent Fabricius-Bjerre) formed his own jazz combo after WWII and his own label (Metronome) in 1950, it wasn’t until 1961, when Fabric’s Alley Cat single hit his native Denmark’s airwaves, that he really became known in the music world. The song proved infectious, and was released worldwide in 1962, even garnering an American Grammy Award for Best Rock & Roll Record. Though Atlantic issued some more of his work in the years that followed, Fabric never had another hit like “Alley Cat.” In 2006, however, the Dane received a bit of attention again after Jukebox, a remixed album of some of his work, was released. (by Marisa Brown)

And here´s another early album ….the perfect music including some fine “knack bass” sounds (like Ladi Geissler) … for you and your lady sitting in a small bar … drinking whisky or another dring … a cocktail, or a gin ….

Close your eyes and drift away…

Unfortunately some tracks like “Thanks For The Buggy Ride” weren´t in a good condition, so you really will hear, that this is another vinyl rip by me.

Bent Fabric03.jpg

Kay Boker (drums)
Bent Fabric (piano)
Poul Gregersen (bass)


01. Titena (Daniderff) 2.06
02. Goofus (Kahn) 1.55
03. Diga Diga Doo (McHugh) 1.48
04. Wonderful One (Whiteman/Grofe) 2.21
05. Something’s Gotta Give (Mercer) 2.09
06. Fly Me To The Moon (Howard) 2.14
07. Thanks For The Buggy Ride (Buffano) 2.17
08. Organ Grinder’s Swing (Parish) 2.12
09. Fourth Man Theme (Fabricius/Bjerre) 2.17
10. Romance (Tschaikovsky) 2.48
11. The Drunken Penguin (Fabricius/Bjerre) 1.56
12. The Old Piano Roll Blues (Coben) 2.02



Oliver Nelson – More Blues And The Abstract Truth (1964)

FrontCover1.JPGMore Blues and the Abstract Truth is an album by American jazz composer, conductor and arranger Oliver Nelson featuring performances recorded in 1964 for the Impulse! label.

Unlike the original classic Blues and the Abstract Truth set from three years earlier, Oliver Nelson does not play on this album. He did contribute three of the eight originals and all of the arrangements but his decision not to play is disappointing. However there are some strong moments from such all-stars as trumpeter Thad Jones, altoist Phil Woods, baritonist Pepper Adams, pianist Roger Kellaway and guest tenor Ben Webster (who is on two songs). The emphasis is on blues-based pieces and there are some strong moments even if the date falls short of its predecessor. (by Scott Yanow)

Billed as a follow-up to Nelson’s 1961 triumph The Blues And The Abstract Truth, (Impulse A-5, including Bill Evans!), it doesn’t quite scale the same heights, but it is a thoroughly listenable offering, which has its moments (if not Stolen Moments). Ben Webster, Phil Woods, Thad Jones and Pepper Adams add their distinctive voices to the ensemble, with Nelson’s arranging skills well on display. Mixed in with the jazz heavyweights are relatively unknown and rising stars Roger Kellaway (piano) Phil Bodner (tenor) Daniel Moore (trumpet) together with the well-seasoned hands of Grady Tate and Richard Davis.

I’m not sure what “Abstract Truth” means in this context, but it sure sounds intellectually impressive, so let’s have more of it. Lights! Camera! Abstract Truth! ..and…Action!… (

Recorded on November 10, 1964 (tracks 4 & 6-9) and
November 11, 1964 (tracks 1-3, 5 & 10).


Pepper Adams (saxophone)
Phil Bodner (saxophone, english horn)
Richard Davis (bass)
Thad Jones (trumpet)
Roger Kellaway (piano)
Grady Tate (drums)
Phil Woods (saxophone)
Danny Moore (trumpet on 01. + 05.)
Ben Webster (saxophone (on 04. + 07.)

Arranged & conducted by Oliver Nelson


01. Blues and the Abstract Truth (Nelson) 5.15
02. Blues O’Mighty (Hodges) 6.48
03. Theme From Mr. Broadway (Brubeck) 5.49
04. Midnight Blue (Hefti) 4.09
05. The Critic’s Choice (Nelson) 2.21
07. One For Bob (Nelson) 6.07
08. Blues For Mr. Broadway (Brubeck) 8.13
09. Goin’ To Chicago Blues (Basie/Rushing) 4.36



Oliver Nelson

Wayne Shorter – Juju (1964)

FrontCover1.jpgWayne Shorter (born August 25, 1933) is an American jazz saxophonist and composer.

Shorter came to wide prominence in the late 1950s as a member of, and eventually primary composer for Art Blakey’s Jazz Messengers. In the 1960s, he went on to join Miles Davis’s Second Great Quintet, and from there he co-founded the jazz fusion band Weather Report. He has recorded over 20 albums as a bandleader.

Many of Shorter’s compositions have become jazz standards, and his output has earned worldwide recognition, critical praise and various commendations. Shorter has won 11 Grammy Awards.[1] He has also received acclaim for his mastery of the soprano saxophone (after switching his focus from the tenor in the late 1960s), beginning an extended reign in 1970 as Down Beat’s annual poll-winner on that instrument, winning the critics’ poll for 10 consecutive years and the readers’ for 18. The New York Times described Shorter in 2008 as “probably jazz’s greatest living small-group composer and a contender for greatest living improviser.” In 2017, he was awarded the Polar Music Prize. (wikipedia)


Fulfilling the potential promised on his Blue Note debut, Night Dreamer, Wayne Shorter’s JuJu was the first great showcase for both his performance and compositional gifts. Early in his career as a leader, Shorter was criticized as a mere acolyte of John Coltrane, and his use of Coltrane’s rhythm section on his first two Blue Note albums only bolstered that criticism. The truth is, though, that Elvin Jones, Reggie Workman, and McCoy Tyner were the perfect musicians to back Shorter. Jones’ playing at the time was almost otherworldly. He seemed to channel the music through him when improvising and emit the perfect structure to hold it together. Workman too seemed to almost instinctively understand how to embellish Shorter’s compositions. McCoy Tyner’s role as one of the greatest jazz pianists of all time was played here as well, and his light touch and beautiful, joyful improvisations would make him a much better match for Shorter than Herbie Hancock would later prove to be. What really shines on JuJu is the songwriting. From the African-influenced title track (with its short, hypnotic, repetitive phrases) to the mesmerizing interplay between Tyner and Shorter on “Mahjong,” the album (which is all originals) blooms with ideas, pulling in a world of influences and releasing them again as a series of stunning, complete visions. (by Stacia Proefrock)


Elvin Jones (drums)
Wayne Shorter (saxophone)
McCoy Tyner (piano)
Reginald Workman (bass)

01. Juju 8.31
02. Deluge 6.52
03. House Of Jade 6.53
04. Mahjong 7.43
05. Yes Or No 6,38
06. Twelve More Bars To Go 5.31

Music composed by Wayne Shorter




Ian & Sylvia – Northern Journey (1964)

FrontCover1.jpgIan & Sylvia were a Canadian folk and country music duo which consisted of Ian and Sylvia Tyson, née Fricker. They began performing together in 1959, married in 1964, and divorced and stopped performing together in 1975.

Ian Tyson, CM, AOE was born in Victoria, British Columbia, in 1933. In his teens, he decided upon a career as a rodeo rider. Recovering from injuries sustained from a fall during the mid-1950s, he started learning guitar. In the late 1950s, he relocated to Toronto, aspiring to a career as a commercial artist. He also started playing clubs and coffeehouses in Toronto. By 1959 he was performing music as a full-time occupation.

Sylvia Tyson, née Fricker, CM, was born in Chatham, Ontario, in 1940. While still in her teens, she started frequenting the folk clubs of Toronto.

The two started performing together in Toronto in 1959. By 1962, they were living in New York City where they caught the attention of manager Albert Grossman, who managed Peter, Paul and Mary and would soon become Bob Dylan’s manager. Grossman secured them a contract with Vanguard Records and they released their first album late in the year.


Their first album, self-titled Ian & Sylvia, on Vanguard Records consists mainly of traditional songs.[5] There were British and Canadian folk songs, spiritual music, and a few blues songs thrown into the mix. The album was moderately successful and they made the list of performers for the 1963 Newport Folk Festival.

Four Strong Winds, their second album, was similar to the first, with the exception of the inclusion of the early Dylan composition, “Tomorrow is a Long Time”, and the title song “Four Strong Winds”, which was written by Ian Tyson. “Four Strong Winds” was a major hit in Canada and ensured their stardom.

Ian&Sylvia1.jpgThe two married in June 1964; they also released their third album, Northern Journey, that year. It included a blues song written by her, “You Were on My Mind”, which was subsequently recorded by both the California group We Five (a 1965 #1 on the Cashbox chart, #3 on the Billboard Hot 100) and British folk rock singer Crispian St. Peters (#36 in 1967).[8] A recording of “Four Strong Winds” by Bobby Bare made it to #3 on the country charts around that time.

On the Northern Journey album was the song “Someday Soon”, a composition by him that would rival “Four Strong Winds” in its popularity. (Both songs would eventually be recorded by dozens of singers.)

Their fourth album, Early Morning Rain, consisted in large part of new songs. They introduced the work of the couple’s fellow Canadian songwriter and performer Gordon Lightfoot through the title song and “(That’s What You Get) For Lovin’ Me”. They also recorded songs “Darcy Farrow” by Steve Gillette and Tom Campbell, being the first artists to record these three songs. Additionally, they recorded a number of their own compositions.

They performed at the 1965 Newport Folk Festival. Play One More, their offering of 1965, showed a move toward the electrified folk-like music that was becoming popular with groups like the Byrds and the Lovin’ Spoonful. The title tune used horns to evoke the mariachi style.

In 1967, they released two albums, one recorded for Vanguard, the other for MGM. These two efforts, So Much For Dreaming and Lovin’ Sound, were far less dynamic presentations. At this time they were doing a weekly TV program for the Canadian Broadcasting Corporation.


They relocated to Nashville, Tennessee, where they recorded two albums; one to fulfill the terms of their Vanguard contract, the other to supply MGM with a second (and last) album for that label. The albums can be defined as early country rock music; Nashville for Vanguard was cut in February 1968, one month before The Byrds’ Sweetheart of the Rodeo, widely considered the first collaboration of rock and Nashville players.[10] Three of Bob Dylan’s “Basement Tapes” songs are included on these albums; most of the rest were written by Ian or Sylvia.

In 1969, Ian & Sylvia formed the country rock group Great Speckled Bird. In addition to participating in the cross-Canada rock-and-roll rail tour Festival Express, they recorded a self-titled album for the short-lived Ampex label. Produced by Todd Rundgren, the record Ian&Sylvia3failed when Ampex was unable to establish widespread distribution. Thousands of copies never left the warehouse, and it has become a much sought-after collector’s item. Initially, the album artist was given as Great Speckled Bird but later copies had a sticker saying that it featured the duo.

Ian & Sylvia’s last two albums were recorded on Columbia Records. The first, 1971’s Ian and Sylvia, not to be confused with their 1962 release titled Ian & Sylvia, consists largely of mainstream country-flavored songs. This album was released on CD, with extra tracks, as The Beginning of the End in 1996. Their second Columbia record, 1972’s You Were On My Mind, featured a later incarnation of Great Speckled Bird. The songs range from hard country rock to middle-of-the-road country material. Neither of the Columbia albums sold well. They were eventually combined and released as 1974’s The Best of Ian and Sylvia.

In 1972, Ian & Sylvia performed the song “Let Her Alone” for Walt Disney Productions’ live-action drama Run, Cougar, Run. Ian also served as the film’s narrator.

By 1975, Ian & Sylvia had stopped performing together and soon afterwards were divorced.

Ian retreated to western Canada, returned to ranching, and focused on his solo career.

Ian&Sylvia4Sylvia wrote, performed, and involved herself in various projects. In recent years, she has been recording new material, working as a member of the group Quartette, and performing a one-woman show entitled River Road and Other Stories.

The duo’s son, Clay Tyson (Clayton Dawson Tyson, born 1966), is also a musician and recording artist.

In August 1986 a stellar cast of folk singers who had recorded or written their songs, including Gordon Lightfoot, Judy Collins, Murray McLauchlan and Emmylou Harris, was assembled in Ontario, Canada, for a reunion concert.

Ian & Sylvia sang their signature song, “Four Strong Winds”, at the 50th anniversary of the Mariposa Folk Festival on July 11, 2010, in Orillia, Ontario. (by wikipedia)

And here´s they third album:

The duo continue to fill out their sound on another collection of mostly traditional material, with John Herald (guitar), Monte Dunn (mandolin and guitar), and Eric Weissberg and Russ Savakus (bass) backing Ian & Sylvia’s own guitar and autoharp. The few originals stand out much more than the traditional updates on this LP; Tyson’s “Four Rode By” and “Some Day Soon” clearly point toward his future C&W/cowboy direction, and Fricker’s “You Were on My Mind” remains their best (and best-known) song. (by Richie Unterberger)


Some of the duo’s best moments, and some of their worst. Fricker’s “You Were On My Mind” is probably their best original: catchy folk-pop, it later became a hit single for We Five. Tyson’s two tunes – “Four Rode By” and “Some Day Soon” – are also memorable, and “Texas Rangers” is a stirring ballad with a dramatic a capella presentation. On the other hand, “Little Beggarman” is the sort of corny sing-a-long fluff that gave folk singers a bad name, and “Moonshine Can” isn’t much better. The one gospel song is overly familiar (“Swing Down Chariot”), and the narrative songs (“The Ghost Lover,” “Captain Woodstock’s Courtship”) are only intermittently captivating. (by Wilson & Allroys)


Sylvia (Tyson) Fricker (vocals)
Ian Tyson (guitar, vocals)
Monte Dunn (mandolin, guitar)
John Herald (guitar)
Russ Savakus (bass)
Eric Weissberg (bass)


01. You Were On My Mind (Fricker) 2.47
02. Moonshine Can (Traditional) 2.16
03. The Jealous Lover (Traditional) 2.55
04. Four Rode (Tyson) 2.42
05. Brave Wolfe (Traditional) 5.26
06. Nova Scotia Farewell (Traditional) 2.51
07. Some Day Soon (Tyson) 2.21
08. Little Beggarman (Makem) 2.23
09. Texas Rangers (Traditional) 3.27
10. The Ghost Lover (Traditional) 2.46
11. Captain Woodstock’s Courtship (Traditional) 2.56
12. Green Valley (Traditional) 4.03
13. Swing Down, Chariot (Traditional) 2.09


Stan Getz & Astrud Gilberto – Getz Au Go Go (1964)

LPFrontCover1Getz Au Go Go is a live album by American saxophonist Stan Getz and his quartet, featuring bossa nova singer Astrud Gilberto. It was recorded during two concerts in 1964 and released on Verve the same year as V6-8600. (by wikipedia)

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 — AstrudGilbertotwo 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. (by Lindsay Planer)

Tracks 4–7, 9–10 recorded on May 22, 1964; tracks 1–3 and 8 on October 9, 1964.


Kenny Burrell (guitar)
Gary Burton (vibraphone)
Gene Cherico (bass)
Stan Getz (saxophone)
Astrud Gilberto (vocals)
Joe Hunt (drums)
Chuck Israels (bass on 04., 09. – 10.)
Helcio Milito (drums on 01. – 03, 08.)


01. Corcovado (Jobim) 2.52
02. It Might As Well Be Spring (Rodgers/Hammerstein II) 4.28
03. Eu e Voce (Lyra/de Moraes) 2.33
04. Summertime (G.Gershwin/I.Gershwin) 8.13
05. Only Trust Your Heart (Carter/Cahn) 4.35
06. The Singing Song (Burton) 3.44
07. The Telephone Song (Menescal/Bôscoli/Gimbel) 2.05
08. One Note Samba (Jobim/Mendonca) 3.12
09. Here’s That Rainy Day (van Heusen/Burke) .6.12
10. 6-Nix-Pix-Flix (Burton) 1.09