Munich: Abbey Fonn / Nick Getz / Wilson XVX, D’Agostino Relentless, VPI Titan, Nordost, Stromtank

As one of Munich’s most prestigious distributors, Mansour Mamaghani’s Audio Reference again pulled out all the stops in a huge, glass enclosed central Atrium space that showcased more brands than there is space to list.

One of the highlights of their mobbed, standing-room-only press event was a presentation in which Impex Records’ Abby Fon shared the company’s new, 1STEP, all-analog pressing of the best-selling Getz/Gilberto with jazz saxophonist Stan Getz’s son, Nick Getz. Standing as I was at a terrible angle, way to the left of the soundstage, I scribbled some notes while marveling how good the music sounded through Wilson Audio XVX loudspeakers, D’Agostino Relentless amplifiers and preamp, VTL TP-6.5 Series II Signature phono preamplifier, and VIP Titan turntable, connected by Nordost cabling. The front end received power from a Stromtank.

In 1962, when Getz staged his comeback at the Village Vanguard, he was surprised to discover that the show was not sold out. Trying to figure out why, he contacted his friend Miles Davis, who told him that styles had changed, and it was now necessary to play lots of notes. Getz, who didn’t like playing that way, instead followed up an introduction to Brazilian jazz from guitarist Charlie Byrd and recorded Jazz Samba in one day. After it succeeded, Blue Note put Gilberto and Getz together. While they couldn’t speak each other’s actual language, their musical communication was exemplary.

Getz/Gilberto sat in mothballs for 13 months until Getz’s wife, sensing the album’s potential, ignored the label’s hesitation and began illegally sending records to well-known DJs in key cities. Eventually, demand was so great that the album saw the light of day in 1963.

Even from one of the worst seats in the house, the recording’s amazingly open and lifelike sound impressed greatly.

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