Getz Gilberto Udcd

One of the biggest-selling jazz albums of all time, not to mention bossa nova's finest moment, Getz/Gilberto trumped Jazz Samba by bringing two of bossa nova's greatest innovators - guitarist/singer João Gilberto and composer/pianist Antonio Carlos Jobim - to New York to record with Stan Getz. The results were magic. Ever since Jazz Samba, the jazz marketplace had been flooded with bossa nova albums, and the overexposure was beginning to make the music seem like a fad. Getz/Gilberto made bossa nova a permanent part of the jazz landscape not just with its unassailable beauty, but with one of the biggest smash hit singles in jazz history - "The Girl From Ipanema," a Jobim classic sung by João's wife, Astrud Gilberto, who had never performed outside of her own home prior to the recording session…

One of the biggest-selling jazz albums of all time, not to mention bossa nova's finest moment, Getz/Gilberto trumped Jazz Samba by bringing two of bossa nova's greatest innovators - guitarist/singer João Gilberto and composer/pianist Antonio Carlos Jobim - to New York to record with Stan Getz. The results were magic. Ever since Jazz Samba, the jazz marketplace had been flooded with bossa nova albums, and the overexposure was beginning to make the music seem like a fad. Getz/Gilberto made bossa nova a permanent part of the jazz landscape not just with its unassailable beauty, but with one of the biggest smash hit singles in jazz history - "The Girl From Ipanema," a Jobim classic sung by João's wife, Astrud Gilberto, who had never performed outside of her own home prior to the recording session…

One of the biggest-selling jazz albums of all time, not to mention bossa nova's finest moment, Getz/Gilberto trumped Jazz Samba by bringing two of bossa nova's greatest innovators - guitarist/singer João Gilberto and composer/pianist Antonio Carlos Jobim - to New York to record with Stan Getz. The results were magic. Ever since Jazz Samba, the jazz marketplace had been flooded with bossa nova albums, and the overexposure was beginning to make the music seem like a fad. Getz/Gilberto made bossa nova a permanent part of the jazz landscape not just with its unassailable beauty, but with one of the biggest smash hit singles in jazz history - "The Girl From Ipanema"…

Stan Getz meets João & Astrud Gilberto: New York 1964 is a live recording of bossa nova in the making. In 1989, the Giants of Jazz label released a live recording of a 1964 New York City performance featuring Stan Getz, João Gilberto and Astrud Gilberto, his then-wife. The album, entitled Stan Getz meets João & Astrud Gilberto is actually misleading: the trio had met previously in 1963 for the recording of the wildly successful album Getz/Gilberto, which was released in 1964 and set off the bossa nova frenzy in the U.S. As a result of that album’s success, the Brazilian Gilbertos and the American Getz played a number of shows in the U.S., such as the one recorded here. Released as part of the “Immortal Concerts” series, this recording exhibits the chemistry the three obviously shared and captures bossa nova in its infancy, as it was still being created and defined.

This 1976 album by the late saxophonist Stan Getz is a reunion of sorts with Joao Gilberto, the great Brazilian guitarist and singer, and the music of Antonio Carlos Jobim (or Tom Jobim), along with the stylish and nonintrusive arrangements of Oscar Carlos Neves. The trio changed the world in the early 1960s with its Getz/Gilberto albums. With Neves, they almost did it again, but with all of the crap falling down around them in the musical climate of the mid-'70s - fusion, disco, overblown rock, and the serious decline of jazz - this disc was criminally overlooked at the time. Joining these four men in their realization of modern bossa and samba are drummers Billy Hart and Grady Tate, percussionists Airto, Ray Armando, and Ruben Bassini, bassist Steve Swallow, pianist Albert Dailey, and Heliosoa Buarque…

Here's some more bossa nova from Stan Getz when the bloom was still on the first Brazilian boom. This time, however, on his third such album, Getz relies mostly upon native Brazilians for his backing. Thus, the soft-focused grooves are considerably more attuned to what was actually coming out of Brazil at the time. Two bona fide giants, Antonio Carlos Jobim and Luiz Bonfá (who gets co-billing), provide the guitars and all of the material, and Maria Toledo contributes an occasional throaty vocal. Getz injects more high-wailing passages into his intuitive affinity for the groove, even going for some fast bop on "Un Abraco No Getz," and Bonfá takes adept care of the guitar solos against Jobim's rock-steady rhythm. Clearly Jobim's songwriting contributions - "So Danco Samba," "How Insensitive," and "O Morro Nao Tem Vez" - would have the longest shelf life…

This is Joao Gilberto - Joao Gilberto Interpreta Tom Jobim, for Odeon, featuring Antonio Carlos Jobim compositions performed by Joao Gilberto on his early recordings for Odeon label. This is the best of both worlds and should be listened from the start until the end on a single audition.
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 the music theirs…

The honey-toned chanteuse on the surprise Brazilian crossover hit "The Girl From Ipanema," Astrud Gilberto parlayed her previously unscheduled appearance (and professional singing debut) on the song into a lengthy career that resulted in nearly a dozen albums for Verve and a successful performing career that lasted into the '90s. Though her appearance at the studio to record "The Girl From Ipanema" was due only to her husband João, one of the most famed Brazilian artists of the century, Gilberto's singular, quavery tone and undisguised naïveté propelled the song into the charts and influenced a variety of sources in worldwide pop music…

In the liner notes to this album, Stan Getz comments about how producer Herb Alpert showed him aspects of recording he had never experienced before. In this case, it's how to over-produce without overwhelming a lead soloist, as Alpert loads up this date with synthesizer players, electric instruments, and effects as a backdrop for the ultra-cool tenor of Getz. While not going overboard, it would have been nice to hear this music without the caramel-thick arrangements, leaving just Getz and a rhythm section to play sans the unnecessary sugarcoating. Initially released about a year before Getz passed away, the end result is a lazy and far too sweet group of pieces that muck up romance in a smothering fashion. Where string arrangements can sound beautiful, the sleepy synths on "Waltz for Stan" and echoplexed sax during "Madrugada" and especially the nine-minute ambling "Midnight Ride"…