Album of the Week Aug 3 - 9

[Ed S]

For the week of August 10 -16 I'll nominate......

Stan Getz - Getz/Gilberto (click here to buy)

Edited March 31, 2006 by Jim Alfredson

[Big Al]

Bringing this up to start off the discussion. I'll post more later, just want to say how glad I am this got picked. This is one of my favorite albums EVER, jazz or otherwise.

I'll warn y'all now of a ridiculously long post to come, filled with commentary, memories, and other useless bits as I think of them.

Cheers! And let the fun begin!

[Ed S]

There was a time in my life that I really hated this record. I was probably 5 or 6 years old when the Bossa Nova craze hit. My parents really dug Bossa Nova and continued playing it long after the craze was over. As I began to develop my own interests - rock music, of course and then fusion and eventually on to mainstream jazz - Bossa Nova came to symbolize all that was un-hip, tired, old and boring. What opened my eyes and ears was listening years later to the Pat Metheny Group. Records like Letter From Home and Still Life Talking had those Brazilian influences that I really dug and I wanted to hear more. So, with new ears and a new attitude, I went back to check out some of this music that I had previously dismissed - and ended up loving it on so many levels and for so many reasons

I guess, if there is one word that I would use to characterize this album, it would have to be beautiful. Gorgeous, sumptuous, luscious, intoxicating quickly follow. This may not have been the first Bossa Nova record but it's certainly my favorite and I think it's certainly a masterpiece within the genre. Getz' tone and feel suited Bossa Nova perfectly. He plays masterfully throughout the record. His solos are remarkable for their soft touch and feel. The presence of Jobim and Gilberto is of course a highlight as well. The selections on the album are virtually all masterpieces.

Another reason I dig this album is that for me at least, it cemented the relationship between jazz and Brazilian music that had begun in the 50s. This collaboration between Getz and the two Brazilan masters Gilberto and Jobim is like the exclamation point at the end of a sentence that had been developing for a number of years. I think of the early RTF records, the world music influenced Weather Report, artists like Wayne Shorter and Pat Metheny and both beneficiaries and successors to the ground work that was being laid in this period.

One of the things that really intrigues me about this album and Bossa Nova in general was its appeal to an audience outside of jazz and how that impacts both the jazz and the resultant "popularized" forms of the music. Clearly this music hit the American popular music scene like a tornado and resulted in some significant and great music with lasting beauty such as Getz/Gilberto. But it also caused a flood of mediocre Bossa Nova knock offs. Is this the fate of jazz that crosses over into the popluar mainstream - to become watered down to the point that somewhere downstream you can't call it jazz any longer? Where does the jazz end in these cases and where does the pop music start? Anyone ever hear a song called Blame It On The Bossa Nova?

How much of today's smooth jazz has those same sultry and "breezy" rhythms that are so appealing in the context of Getz/Gilberto yet sound so unappealing in the effort to popularize jazz in the smooth jazz context. I struggle with this a lot since probably more than most, my tastes encompass some of what I'm sure many here would at best say straddles the line between mainstream jazz and music at the fringes of jazz.

Another thing that intrigues me about the whole Bossa Nova movement is how it fit into the political climate of the times and how this music offered an escape, albeit temporary, from the pressures of the day. America was falling behind in the Space Race, the Cold War was at its worst, Communism hit the Western Hemisphere in Cuba, the Bay of Pigs, the Cuban Missile Crisis, bomb shelters being constructed in people's back yards, Civil Defense, bomb drills in schools, the Vietnam War, Kennedy's assasination, the whole race issue that would explode later in the decade with riots and more assasinations. I wonder how much of the appeal of Bossa Nova was related to escapism?

I told you there were a lot of reason why I picked this record.

Edited August 4, 2003 by Ed Swinnich

[Soul Stream]

This isn't really my post on this AOW. But I just wanted to ad something to Ed's thoughts about why this album was so popular with the general public.

The singing is gorgeous, the arrangements simple, and Getz very melodic. Melody is something that reaches everyone, and is often lost in the jazz world. Bossa reminded everyone of these elements: Simplicity, Beauty and Melody.....just a thought. More later.

[Alexander]

This was one of the first Stan Getz albums I ever bought (along with Jazz Samba and Stan Getz and Bill Evans). I have to say that I didn't dig it at first. I liked Jazz Samba, but this seemed a little too...real, I guess. Too Brazilian, perhaps? Anyway, of course I have come to love it. It's easily the best Bossa Nova recording of the period, perhaps of all time. The Bossa Nova movement was an attempt to fuse the Samba with Cool Jazz, and the collaboration of Getz with Gilberto and Jobim (the architects of this music) is perfection. Astrud's numbers are lovely, her flat vocal style fitting perfectly in with the music. It is, along with certain Fellini films and the Astin Martin, the epitome of early 60s cool. And, let's face it, things just haven't been as cool since the early 60s!

[skeith]

I can't add much to what others have already said, but I wanted to say this is a favorite of mine. It's just to perfect in every way: the melodies, the voices, the instruments. I can't imagine it being done any better. One of the best jazz/bossa nova albums ever!

[Jim R]

A couple of thoughts. First of all, this is a classic session, without a doubt. Joao Gilberto was magic, especially in tandem with Jobim. They had already begun to make history before this session took place, and when you add in Getz and his natural way with this music, it was a magical confluence of talent.

Bossa Nova is of course a stereotyped term, and a stereotyped genre. As far as its place in the consciousness of most americans, has never escaped the stigma attached to it during the worldwide craze that occurred in the 60's. A lot of people probably still think it was a dance, or something that originated with Eydie Gorme.

Musically speaking, I think it is also a mistake to think of Bossa Nova as simple. It can be relaxing, and some of the melodies can be simple, but in terms of its original conception, this was (and still is) sophisticated music. It is the watered down material produced outside Brazil (mostly in the U.S.) during the craze that became simplistic. Compositions like "Desafinado" and "Chega de saudade", especially in their original form, are not simple to play. When you look at some of Jobim's original sheet music, and try to play it correctly, that's difficult enough. When you then try to master the rhythmic style of Joao Gilberto... forget about it! It's nearly impossible to reproduce that. The same can be said of his vocal style.

Now that I've thoroughly explored Bossa Nova and Brazilian Jazz from the 50's and 60's, listening to this album (although still very enjoyable) is just slightly less thrilling than it used to be. As great as Getz plays on this, it's still a "fusion" of two cultures, and less pure than listening to the original recordings from Brazil. Much of the other Getz material from the era is even less appealing to me (Charlie Byrd just doesn't cut it once you've listened to Gilberto or Oscar Castro Neves; and Buddy Deppenschmidt was no Edison Machado It's all good, of course, but I gotta be brutally honest). I also have never gotten a great deal out of listening to Astrud. She's not a "bad" singer, but her popularity and eventual commercial success was really more about being in the right place at the right time (well documented tale).

[catesta]

Ain't this thread supposed to be pinned?

Guy buys a new house and everything else goes to shit.

[connoisseur series500]

I've got this session as part of the 4-cd "Bossa Nova Years" Getz box. Can't help but discuss it in connection with the other cds.

My favorite of all is the beautiful "Jazz Samba Encore." Jobim's tune, "O Morro Nao Tem Vez is indescribably beautiful.

These bossa nova sessions served as my introduction to jazz. They are part of me like my body organs are part of me. I came from the Caribbean orginally and was brought up on Latin rhythms (though I still dance like a white guy ) This stuff flows naturally to my ears like honey to the tongue.

I also love the Astrud Gilberto story. The producers needed someone who could sing in English and Giao's wife was asked to sing though she was "just a housewife." She became a giant hit and history was made!

I think of tropical shores and laid back and sensual people with meridional rhythms whenever I hear this stuff. It is my youth.

[SinginSumo]

Those who enjoyed this album are directed to another classic,

Francis Albert Sinatra & Antonio Carlos Jobim

Edited August 9, 2003 by SinginSumo

[rockefeller center]

Those who enjoyed this album are directed to another classic,

Francis Albert Sinatra & Antonio Carlos Jobim

The cigarette-smoking Sinatra/Jobim footage is nice.

[marcoliv]

well, it´s kinda easy to understand why this album means so much to me

Bossa Nova started its influence on 1958 with the release of Joao Gilberto´s single "Chega de Saudade". at this time, Brazil was living a period where major decisions about the future of this country were taken and an economic boom leaded to a creative and fertile period for music, cinema & arts.

Joao Gilberto is responsible for a revolution on brazilian music with his unique way to perform a song and he was compared to Chet Baker for his cool voice. Jobim & Newton Mendonça were responsible for several lyrics, based on simple ideas developed beautifully confirmed by tunes such as Corcovado, So Danço Samba, Vivo Sonhando

i was 8 years old when i heard for the first time Getz/Gilberto album. as a fan of Creed Taylor´s work and inspired by the curiosity of Bossa Nova played on a jazz mood, i requested to my father to get it for me. Stan quickly became a hero for me and "Jazz Samba" album was an obvious next step on this Jazz-Bossa Nova discovery.

last year i finally got both of them on CD as part of the VME series and the same pleasure i had when i was 8 came back once again.

Viva a Bossa Nova!!!

peace

Marcus Oliveira

ps:i would like to apologize for some mistakes on my english, that's why i always try to keep my messages short but this AOW really touched me

[connoisseur series500]

Great post, Marcus!

Viva a Bossa Nova!

[J Larsen]

While were on the subject, could someone tell me how Joao is pronouced?

[vibes]

The Jazz Pronunciation Guide says:

zhwow zheel-bare-toe

Emphasis on the word is on the "ao," which is nasalized.

[Jim R]

"zhwow zheelBAREtoe" is pretty close, but you'd have to listen to a Brazilian say it a few times to really get it right. B)

[SinginSumo]

Close. His first name is pronounced zhoo-WOW.

[marcoliv]

effectively it´s hard to describe but i can guarantee that you can´t say WOW at the end.

it is true that the last part is nasalized due to the accent employed (João) but WOW in english has a different sound than "ão" in portuguese.

if i manage to find something similar i´ll post here

peace

Marcus Oliveira

[J Larsen]

Thanks for the pronounciation tips. I guess I'll have to ask a Brazillian some day!

[Jim R]

The portuguese lyrics for Jobim's "Chovendo na roseira" (aka "Double rainbow") include the name "João" in the opening section:

Olha

Está chovendo na roseira

Que só dá rosa mas não cheira

A frescura das gotas úmidas

Que é de Luiza, que é de Paulinho, que é de João,

Que é de ninguém...

Here are some vocal versions which might be available (or you could search for an audio sample online):

Antonio Carlos Jobim & Elis Regina- Elis & Tom- Verve

Gal Costa- Ao Vivo / Canta Tom Jobim- BMG

Rosa Passos- O Melhor De Rosa Passos- Velas

Ana Caram- Bossa Nova- Chesky

[Warning: This music is addictive. Which is why I'm always recommending it. B) ]

[paul secor]

A very late addition. Not all that much to add, but Getz' solos on P'ra Machucar Meu Coracao, So Danco Samba, O Grande Amor, and Vivo Sohando have always seemed to me like some of his best.

It's always puzzled me why Tommy Williams wasn't mentioned in the original liner notes.

Thanks for choosing this, Ed. I bought it when it was originally released, and it's always seemed to be a perfect record. I hadn't played it in many years, but when I played it the other night it sounded as good as the first time I listened to it - probably better, because I hear more in it now.

[Big Al]

Apologies for resurrecting a four-year-old thread. I'll warn you now: this one's gonna be long. Hell, it took me four years to write it; whattya expect?

I will go on record right now to say that there exists no more of a perfect album than Getz/Gilberto. There are a lot of albums I can put on and listen to over and over at work; this is that rare album that I actually listen to over and over at work.

The opener, "The Girl from Ipanema," is about as perfect a recording as exists. The gentle humming and strumming of Joao Gilberto. His is such a voice that one can sing along with it, despite not knowing the words. I don't know the words, but I still love to sing along. Tommy Williams plays such a deceptively simple bass line, simple whole notes throughout. But the genius is that those notes are NOT simple. His playing is the literal heartbeat of the song. Then Astrud comes in. Outside of this album, I'm not much of a fan of hers. Not even on subsequent albums she did with Getz or solo. But here, on this song, she nails it. Innocently flat, angelically without range, PERFECT for this song. She magnificently transforms the perspective of the song from that of the longing and yearning young man to that of the plain-looking hidden-beauty of the envious young lady watching this "tall, tan, young and lovely" walk by attracting all the men. No mean feat! Then Stan Getz comes in and plays an understated majestic solo. One of the cool things about this section is how Milton Banana switches to the ride cymbal for Stan's solo. Gives it a more driving beat before Jobim comes in for his solo. That last strike of the ride cymbal before switching back to the hi-hat is like a smooth landing after diving off a cliff, the adrenaline rush of falling accompanied by Stan's solo, and the cool of the water accompanied by Jobim's lilting piano playing. It truly does not get any better than this, and few people have come close; the only version of this song that is in the same stratosphear is the version done with Sinatra. Other than that, no one else has come close to matching the magic that is this particular version. Nobody. Including Jobim himself.

Thankfully, they didn't just leave it at that. Even a song like "Doralice," which sounds like it could be a simple throwaway, is imbued with a sense of togetherness that could only sound like it was being played by a close-knit group.

I love Joao's story of "Para Machucar Meu Coracao." It evokes a sadness that was already evident in the song. Knowing the story makes the playing sound even more melancholy without being overdone. To use a word I've used a lot here, this song is perfect.

"Desafinado" and "Corcovado" are definitive, the standard by which all future versions are measured, including ones by Jobim himself. Speaking of Jobim (to borrow an album title by pianist Eddie Higgins, creating a nice segueway), not nearly enough is ever said about Jobim's sparse and lovely piano playing. He uses maybe one note, two-note chords if he's feeling generous, to make his point. His solos are masterpieces of understatement, and yet they say so much more than a thousand note-jammed solos of some of the same pianists of the day (and today, for that matter).

"So Danco Samba" is made even more lovely by that deceptively simple (there's that term again) piano chord Jobim plays twice before Joao starts singing. This is also Stan's hottest solo on the whole album.

Jim R said it earlier that Joao's strumming may sound easy, but it ain't. Few people can emulate or imitate it properly. A lot like someone trying to sing like Sinatra. Sure, I can sing along with him while I'm driving, and I like to think I'm a good enough singer that I can hit the same notes Sinatra's hitting. But hit them the same WAY Sinatra hits 'em? I don't think so! Someone else (might've been Jim R, I'm too lazy to look) compared Joao's voice to Sinatra's, and I agree wholeheartedly. Sure, he may not be as technically gifted as Sinatra, but the gifts he had he used exceptionally. He makes you feel the song; he makes you understand the song even if you don't understand the words.

"O Grande Amor" sounds like a close cousin to the earlier "Para Machucar Meu Coracao," melancholy, evocative, longing, haunting, and a whole bunch of other overused cliched descriptives. Including perfect!

This is not my favorite version of "Vivo Sonhando," (that goes to the version on Jobim's masterpiece Terra Brasilis) but it is definitive. I love the way Getz's high note ends the record; it's like the aural exclamation point to the perfect melding of American and Brazilian in a way that set the standard for all future bossa nova albums. Some albums came close (Jobim's own Desafinado came close, but on a different level altogether), and even though a lot of what came after ranged from beautiful and pleasant to "Oh Lord, who let one rip in here?" most of it was good enough to enjoy. I know I have!

Edited November 10, 2007 by Big Al

[Bright Moments]

big al - your reply was worth the wait!

[Big Al]

Thanks!

[tonym]

There can never be a bad time to talk about this album. It's, well...perfect!