4.2 6
by Stan Getz

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Is there any sexier sound than Astrud Gilberto's breathy singing on "Girl from Ipanema"? The runner-up would have to be Stan Getz's equally sultry tenor sax on the very same track. Every note of Getz/Gilberto, is heavy with tropical sensuality. Propelled by a lilting bossa nova beat, the incomparable Getz and Brazilian vocalist


Is there any sexier sound than Astrud Gilberto's breathy singing on "Girl from Ipanema"? The runner-up would have to be Stan Getz's equally sultry tenor sax on the very same track. Every note of Getz/Gilberto, is heavy with tropical sensuality. Propelled by a lilting bossa nova beat, the incomparable Getz and Brazilian vocalist and guitarist Joao Gilberto construct songs that sound innocent and coy, restrained and passionate. Brazilian vocalist and guitarist Joao Gilberto's elegantly understated delivery and gentle phrasing play off the charming lack of polish in his wife Astrud's untrained voice, while Getz blows gorgeous clouds of melody about them. Thirty-five years later, however, "Girl" and the companion pieces like "Corcovado," "Desafinado," and "O Grande Amor" ensure that Getz/Gilberto still shimmers -- softly, slowly, gently -- every spin on your stereo.

Editorial Reviews

All Music Guide - Steve Huey
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. Beyond that, most of the Jobim songs recorded here also became standards of the genre -- "Corcovado" (which featured another vocal by Astrud), "So Danço Samba," "O Grande Amor," a new version of "Desafinado." With such uniformly brilliant material, it's no wonder the album was such a success but, even apart from that, the musicians all play with an effortless grace that's arguably the fullest expression of bossa nova's dreamy romanticism ever brought to American listeners. Getz himself has never been more lyrical, and Gilberto and Jobim pull off the harmonic and rhythmic sophistication of the songs with a warm, relaxed charm. This music has nearly universal appeal; it's one of those rare jazz records about which the purist elite and the buying public are in total agreement. Beyond essential.
Barnes & Noble - Lee Jeske
Sax, Sex and Samba Keep "The Girl from Ipanema" Young
In 1964, at the outset of the British Invasion, a little Brazilian song featuring a jazz saxophonist and an amateur singer whose seductive sounds sent a tropical shimmer through the airwaves began an unlikely swim through the pop charts. By mid-July, it was a Top Ten hit, while the album on which it was featured stalled at No. 2 just behind the Beatles. Six months later, the surprise hit recordings won the Grammys for Record and Album of the Year.

Thirty-five years later, Stan Getz and Astrud Gilberto's version of Antonio Carlos Jobim's "The Girl from Ipanema" is an icon, and the album, GETZ/GILBERTO, is a classic. They're the calling cards of bossa nova, the intoxicating mix of samba and cool jazz that composer Jobim,singer-songwriter Joao Gilberto, and others cooked up in Rio de Janeiro in the late '50s.

Ironically, "The Girl from Ipanema" came at what seemed the last gasp of an American bossa nova craze that had started in 1962 with Getz and guitarist Charlie Byrd's JAZZ SAMBA. After it went to No.1, and the single "Desafinado" -- a Brazilian hit for Gilberto -- hit the Top 20 on the Kennedy-era pop charts, everybody from Eydie Gorme to Miles Davis went bossa nova.

A year later, it was over: JAZZ SAMBA ENCORE, the Getz-Byrd sequel, topped out at No. 88, and the 1963 session that brought together Getz, Jobim and Gilberto was shelved.

"I had to beg the record company to release it," Getz said in 1990. After a year, they relented. A recent Jobim song was chosen as the single, mainly because, at Getz's insistence, some of it was in English.He felt "The Girl from Ipanema" needed an English vocal to offset Joao Gilberto's Portuguese. When a suitable singer couldn't be found, Joao's wife Astrud, an amateur, was enlisted, over the strenuous objections of her husband and songwriter Jobim. Astrud's beguiling vocals not only bring an undercurrent of understated allure to the recording, on the single version they're the only vocals you hear -- Joao's part was snipped out! The lyrics by Norman Gimbel were an approximate translation of the original lyrics by Vinicius de Moraes, and that, too, was a struggle.

"I had a big fight in a taxicab with Norman," Jobim said in 1985. "I couldn't express myself well and I was trying to explain to him that I wanted him to use the name 'Ipanema.' And he said, 'Ipanema doesn't exist, it's a toothpaste [Ipana], this makes no sense.' And I said, 'But this is a place in Rio de Janeiro, this is a beach.' But I couldn't speak well. And then the cabbie stopped the car and turned to me and said, 'You are wrong, your friend is right.' I was even more unhappy."

Jobim persisted and the rest is music history: Astrud Gilberto remained in America to become a star. Joao Gilberto returned to Rio to become a legend. Jobim's songs went on to become 20th-century classics. And Stan Getz went on his way.

"Sure," Getz said, "at that point I could have gotten a couple of singers with fruit on their head, put a little chihuahua on my arm, and become the Jewish Xavier Cugat. But I didn't want to play that stuff all the time; it's boring all the time. I come from a nitty-gritty jazz feel."

Getz and Jobim are gone. But bossa nova, like that tall and tan and young and lovely girl, keeps walking. And when she passes, each one she passes, goes, "Ahhhhh."

Product Details

Release Date:
Polygram Records


Album Credits

Performance Credits

Stan Getz   Primary Artist,Tenor Saxophone,Track Performer
Astrud Gilberto   Vocals
João Gilberto   Guitar,Vocals,Track Performer
Milton Banana   Drums
Antonio Carlos Jobim   Guitar,Piano
Tommy Williams   Bass

Technical Credits

Vinícius de Moraes   Composer
Gene Lees   Composer,Liner Notes
Norman Gimbel   Composer
Antonio Carlos Jobim   Composer
Phil Ramone   Engineer
Creed Taylor   Producer
Val Valentin   Director Of Engineering
Ary Barroso   Composer
Hollis King   Art Direction
Olga Albizu   Cover Painting
Antonio Almeida   Composer

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Getz/Gilberto 4.2 out of 5 based on 0 ratings. 6 reviews.
Cort1 More than 1 year ago
Wonderfully romantic! Great CD to listen to by the fireplace, sipping wine, or on a road trip. Makes me feel uber sophisticated. Very worth the money.
Guest More than 1 year ago
Nothing describres more beautifully the concept of Bossa. Doesn't matter if you are a bossa begginer or an experienced music digger, you must hear this if you want to start talking about bossa. You won't be dissapointed, try it!
Guest More than 1 year ago
The ease at which the songs float and flow by belie the brilliance and sophistication of the song writing. Antonio Carlos Jobim’s compositions are among the best any genre has to offer. A master of harmony and melody, he wrote most of the classic Bossa Nova songs. Great playing by all musicians – Getz is so lyrical, and Joao’s guitar playing defines the Bossa Nova feel.
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