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Music : Getz/Gilberto
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Rating: 
- My favourite album.
Why for me, of all the great and varied records ever made, is the relatively modest 'Getz/Gilberto' the most precious? Is it the miraculous, once-in-a-lifetime meeting of four talents - composer/arranger Antonio Carlos Jobim, tenor sax Stan Getz, singers Joao and Astrud Gilberto - performing a perfect selection of the most perfect songs ever written? Is it those songs themselves, the ultimate expression of bossa nova yearning, flavoured with the warm colour of Brazil, yet available to anyone who's ever cried and dreamed in their bedroom? Is it that swirling, monotonous, barely perceptible, yet crucial bossa nova rhythm, taking hold of your body and mind until you too, without noticing it, are swaying like a samba? Is it the creative generosity of Stan Getz, whose saxophone IS the sound of this music, but who is perfectly content not to shout about it? Is it the delicious vocal interplay between Joao and Astrud Gilberto, he mumbling privately to hmself, she quivering to hit the right notes, so distant yet so complimentary you feel you are eavesdropping on the most deeply personal conversations, an especially disturbing one in the deceptively wistful 'Corcovada'? Is it that miracle of popular music, 'the Girl from Ipanema', a song I must have heard a thousand times, and which still has the power to transport me to another world - a tantalising play between Joao's exotic foreign frustration, eloquent music and Astrud's drily amused interpreter? Is it 'Para Machuchar Meu Coracao' (To hurt my heart), quiet, circular heartbreak, along with 'Insensatez' the most beautiful, haunting, heartstopping, wistful song ever written?
All of these things on their own would serve to make 'Gilberto/Getz' a masterpiece; together they make it a treasure. What makes it special and personal, I think, are the unassuming shards of milky piano that can occasionally be heard behind the surface delights. Played by the composer Jobim himself, they are the emotinal key through this faraway world into your own heart.
Rating: - Intoxicating
I could go overboard and tell you to buy one of everything Stan Getz recorded in the 1960s -- he is THAT good -- but Getz Gilberto probably rises to the top (even though Jazz Samba is almost equally delightful). Girl from Ipanema and Corcovado by themselves would be worth the price of the album. Add Joao Gilberto's guitar and Jobim on piano and the result is intoxicating. No tension, no ego, just a small ensemble complementing one another in that mellow but uptempo bossa style.
I have always found it amusing and fascinating that Astrud Gilberto, whose vocals stay with you forever, was an afterthought (apparently Getz had to insist that Joao Gilberto's wife, who had no professional experience as a vocalist, be included.) The accent, when she sings in English, is distinctive and, far from being a distraction, makes her vocals here especially memorable.
Great album -- if you are new to Getz, you will not go wrong with this one.
Rating: - Intoxicating
I could go overboard and tell you to buy one of everything Stan Getz recorded in the 1960s -- he is THAT good -- but Getz Gilberto probably rises to the top (even though Jazz Samba is almost equally delightful). Girl from Ipanema and Corcovado by themselves would be worth the price of the album. Add Joao Gilberto's guitar and Jobim on piano and the result is intoxicating. No tension, no ego, just a small ensemble complementing one another in that mellow but uptempo bossa style.
I have always found it amusing and fascinating that Astrud Gilberto, whose vocals stay with you forever, was an afterthought (apparently Getz had to insist that Joao Gilberto's wife, who had no professional experience as a vocalist, be included.) The accent, when she sings in English, is distinctive and, far from being a distraction, makes her vocals here especially memorable.
Great album -- if you are new to Getz, you will not go wrong with this one.
Rating: - BUY IT
Extremely romantic, easy, simple, absolutely beautiful. It's a masterpiece that should be in *anyone's* collection! Buy it...you will not be disappointed.
Rating:
- Remastered maybe, but definitely lacking.
There is some good music here to be sure but I can't help but feel that the product is badly let down by poor value and packaging. For my part, I am annoyed that consumers are asked to pay for 60+mins of music only to receive 38.42mins. There is a great deal of empty space on sale in this CD. This re-issuing caper is not new. If a premium price is to be asked, a good strategy (demonstrated by many other examples) is to bundle up the vinyl release with other material as it goes to CD. If Verve/PolyGram are interested in delivering value then they should have got it somewhere closer to the 75min that's possible. The other problem that I have with this CD is the incredibly poor design of the CD wallet. The booklet provided within has the infuriating habit of slipping out. And why shouldn't it - there is nothing to hold it in! Were the folk at Verve/PolyGram to design automobiles then occupants could expect to be dumped on the roadside at each and every corner.
- My favourite album.Why for me, of all the great and varied records ever made, is the relatively modest 'Getz/Gilberto' the most precious? Is it the miraculous, once-in-a-lifetime meeting of four talents - composer/arranger Antonio Carlos Jobim, tenor sax Stan Getz, singers Joao and Astrud Gilberto - performing a perfect selection of the most perfect songs ever written? Is it those songs themselves, the ultimate expression of bossa nova yearning, flavoured with the warm colour of Brazil, yet available to anyone who's ever cried and dreamed in their bedroom? Is it that swirling, monotonous, barely perceptible, yet crucial bossa nova rhythm, taking hold of your body and mind until you too, without noticing it, are swaying like a samba? Is it the creative generosity of Stan Getz, whose saxophone IS the sound of this music, but who is perfectly content not to shout about it? Is it the delicious vocal interplay between Joao and Astrud Gilberto, he mumbling privately to hmself, she quivering to hit the right notes, so distant yet so complimentary you feel you are eavesdropping on the most deeply personal conversations, an especially disturbing one in the deceptively wistful 'Corcovada'? Is it that miracle of popular music, 'the Girl from Ipanema', a song I must have heard a thousand times, and which still has the power to transport me to another world - a tantalising play between Joao's exotic foreign frustration, eloquent music and Astrud's drily amused interpreter? Is it 'Para Machuchar Meu Coracao' (To hurt my heart), quiet, circular heartbreak, along with 'Insensatez' the most beautiful, haunting, heartstopping, wistful song ever written?
All of these things on their own would serve to make 'Gilberto/Getz' a masterpiece; together they make it a treasure. What makes it special and personal, I think, are the unassuming shards of milky piano that can occasionally be heard behind the surface delights. Played by the composer Jobim himself, they are the emotinal key through this faraway world into your own heart.
Rating:
- IntoxicatingI could go overboard and tell you to buy one of everything Stan Getz recorded in the 1960s -- he is THAT good -- but Getz Gilberto probably rises to the top (even though Jazz Samba is almost equally delightful). Girl from Ipanema and Corcovado by themselves would be worth the price of the album. Add Joao Gilberto's guitar and Jobim on piano and the result is intoxicating. No tension, no ego, just a small ensemble complementing one another in that mellow but uptempo bossa style.
I have always found it amusing and fascinating that Astrud Gilberto, whose vocals stay with you forever, was an afterthought (apparently Getz had to insist that Joao Gilberto's wife, who had no professional experience as a vocalist, be included.) The accent, when she sings in English, is distinctive and, far from being a distraction, makes her vocals here especially memorable.
Great album -- if you are new to Getz, you will not go wrong with this one.
Rating:
- IntoxicatingI could go overboard and tell you to buy one of everything Stan Getz recorded in the 1960s -- he is THAT good -- but Getz Gilberto probably rises to the top (even though Jazz Samba is almost equally delightful). Girl from Ipanema and Corcovado by themselves would be worth the price of the album. Add Joao Gilberto's guitar and Jobim on piano and the result is intoxicating. No tension, no ego, just a small ensemble complementing one another in that mellow but uptempo bossa style.
I have always found it amusing and fascinating that Astrud Gilberto, whose vocals stay with you forever, was an afterthought (apparently Getz had to insist that Joao Gilberto's wife, who had no professional experience as a vocalist, be included.) The accent, when she sings in English, is distinctive and, far from being a distraction, makes her vocals here especially memorable.
Great album -- if you are new to Getz, you will not go wrong with this one.
Rating:
- BUY ITExtremely romantic, easy, simple, absolutely beautiful. It's a masterpiece that should be in *anyone's* collection! Buy it...you will not be disappointed.
Rating:
- Remastered maybe, but definitely lacking.There is some good music here to be sure but I can't help but feel that the product is badly let down by poor value and packaging. For my part, I am annoyed that consumers are asked to pay for 60+mins of music only to receive 38.42mins. There is a great deal of empty space on sale in this CD. This re-issuing caper is not new. If a premium price is to be asked, a good strategy (demonstrated by many other examples) is to bundle up the vinyl release with other material as it goes to CD. If Verve/PolyGram are interested in delivering value then they should have got it somewhere closer to the 75min that's possible. The other problem that I have with this CD is the incredibly poor design of the CD wallet. The booklet provided within has the infuriating habit of slipping out. And why shouldn't it - there is nothing to hold it in! Were the folk at Verve/PolyGram to design automobiles then occupants could expect to be dumped on the roadside at each and every corner.