Getz/Gilberto (Remastered Expanded Edition) Stan Getz & João Gilberto

• 1The Girl From Ipanema (Stereo Version)05:22
• 2Doralice (Stereo Version)02:45
• 3Para Machuchar Meu Coracao (Stereo Version)05:07
• 4Desafinado (Stereo Version)04:11
• 5Corcovado (Quiet Nights Of Quiet Stars) (Stereo Version)04:14
• 6Só Danço Samba (Stereo Version)03:36
• 7O Grande Amor (Stereo Version)05:25
• 8Vivo Sonhando (Stereo Version)02:53
• 9The Girl From Ipanema (Mono Version)05:13
• 10Doralice (Mono Version)02:45
• 11Para Machuchar Meu Coracao (Mono Version)05:07
• 12Desafinado (Mono Version)04:10
• 13Corcovado (Quiet Nights Of Quiet Stars) (Mono Version)04:14
• 14Só Danço Samba (Mono Version)03:23
• 15O Grande Amor (Mono Version)05:26
• 16Vivo Sonhando (Mono Version)02:56
• 17The Girl From Ipanema (Single Version)02:46
• 18Corcovado (Quiet Nights Of Quiet Stars) (Single Version)02:21
• Total Runtime01:11:54

Info for Getz/Gilberto (Remastered Expanded Edition)

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.

Joao Gilberto, vocals, guitar
Stan Getz, tenor saxophone
Astrud Gilberto, vocals
Antonio Carlos Jobim, guitar, piano
Milton Banana, drums

Recorded March 18 & 19, 1963 in New York City
Engineered by Phil Ramone
Produced by Creed Taylor

Digitally remastered

Stan Getz
was a tenor saxophonist of the first rank who, while exploring and pursuing a purity of musical expression, maintained a large following. He attracted it early in his career with his recording of "Early Autumn" with the Woody Herman band in 1948, more or less sustained it during the Fifties (which were not always tranquil times for him), and then, in the early Sixties, expanded it as he helped introduce Brazilian bossa nova rhythms to jazz. With "Desafinado" and other tunes, Getz established a sound and a beat that appeared and soared on the charts that rank recordings by the number sold. When he died in 1991, he was one of the most esteemed jazz figures among musicians, critics, and general listeners. He gianed this acceptance despite never having compromised his art.

Although Getz played attractive compositions tastefully with harmonic and melodic sophistication, so too did many substantial musicians who never received much critical and popular acclaim. The primary reason for his greatness and his popularity lies elsewhere, in his tone. It is uniquely his. Big and pure and rich and definite, it possesses such an intrinsic appeal that master saxophonist and innovator John Coltrane proclaimed his envy of it — and Roost Records released a Getz album in the Fifties called, simply and accurately, The Sound.

Getz recorded his most sublime creations during his long affiliation with first the Clef and Norgran labels and then Verve Records, from 1952 to 1971.

This album contains no booklet.