Stan Getz: Jazz Meets
Bossa Nova And Brazil

Jazz And Brazilian Music

Stan Getz Albums With Brazilian Music & Bossa Nova

The Best Of Two Worlds
with Joćo Gilberto and Miucha
(1975)

For lovers of the sweet, gentle and romantic rhythms of bossa nova, with the masters: saxophonist, Stan Getz and singer & guitarist, Joao Gilberto, who started all the trend, back in 1964, with "The Girl of Ipanema" et al. This album is very good, in the tradition of Getz and Gilberto's landmark albums of the '60s, but perhaps in a "softer" vein. Also featured (uncredited in her début) is brazilian singer, Heloisa Buarque deHollanda, better known in her country as "Miucha", who's Joao Gilberto's second wife (his first was Astrud Gilberto), Bebel Gilberto's mother and Chico Buarque's sister. After this album, she's appeared in two albums with Antonio Carlos Jobim, among others. --an Amazon.com reviewer

Bossas And Ballads: The Lost Sessions
recorded in 1989
(2003)

Getz Au Go Go
with Astrud Gilberto and Gary Burton
(1964)

The sultry, cool vocals of Astrud Gilberto steal the show of this live 1964 set, recorded in Greenwich Village's Cafe Au Go Go. Backed by Gary Burton on the vibes, Gene Cherico on bass, and skinsman Joe Hunt, Getz and crew saunter through "Summertime," "The Singing Song," and "6-Nix-Pix-Flix" (the latter two penned by the then-21-year-old Burton). Of course, nothing comes close to the magic of Gilberto and her breathtaking contributions on "Quiet Nights of Quiet Stars," "It Might as Well Be Spring," and "The Telephone Song." Compared to some of his more adventurous early-'60s recordings (Focus, Mickey One), Getz Au Go-Go--the saxophonist's last bossa nova disc--is an oasis of comforting cool-jazz sounds. --James Hendrickson (Amazon.com)

Getz/Gilberto
with Joćo Gilberto, Antonio
Carlos Jobim, and Astrud Gilberto
(1964)

Originally released in March 1964, this collaboration between saxophonist Stan Getz and guitarist Joao Gilberto came at seemingly the end of the bossa nova craze Getz himself had sparked in 1962 with Jazz Samba, his release with American guitarist Charlie Byrd. Jazz Samba remains the only jazz album to reach number one in the pop charts. In fact, the story goes that Getz had to push for the release of Getz/Gilberto since the company did not want to compete with its own hit; it was a good thing he did. Getz/Gilberto, which featured composer Antonio Carlos Jobim on piano, not only yielded the hit "Girl from Ipanema" (sung by Astrud Gilberto, the guitarist's wife, who had no professional experience) but also "Corcovado" ("Quiet Night")--an instant standard, and the definitive version of "Desafinado." Getz/Gilberto spent 96 weeks in the charts and won four Grammys. It remains one of those rare cases in popular music where commercial success matches artistic merit. Bossa nova's "cool" aesthetic--with its understated rhythms, rich harmonies, and slightly detached delivery--had been influenced, in part, by cool jazz. Gilberto in particular was a Stan Getz fan. Getz, with his lyricism, the bittersweet longing in his sound, and his restrained but strong swing, was the perfect fit. His lines, at once decisive and evanescent, focus the rest of the group's performance without overpowering. A classic. --Fernando Gonzalez (Amazon.com)

Getz/Gilberto #2
with Joćo Gilberto
(1964)

This live follow-up to the surprise blockbuster Getz/Gilberto was inevitable. Interestingly, the original LP release of the October 1964 Carnegie Hall concert focused on separate sets by Getz's quartet (featuring vibist Gary Burton) and Gilberto's trio: each is as meditative and sweetly melancholic as you'd expect. Five bonus tracks bring together Getz, Gilberto, and the latter's wife, Astrud Gilberto, in revisiting their collaboration. --Rickey Wright
 

Jazz Samba
the landmark album with Charlie Byrd
that launched bossa in North America
(1962)

Guitarist Charlie Byrd was invited to travel and play in Brazil during a cultural goodwill tour sponsored by the Kennedy administration in 1961. He was completely enamoured by the music, and when he returned, he headed straight for the recording studio to make the now classic Jazz Samba. Collaborating with Stan Getz on tenor sax and backed by a band that included Gene Byrd (bass, guitar), Keter Betts (bass), and Buddy Deppenschmidt and Bill Reichenbach (drums), Byrd forged a new and brilliant sound. American record companies were to churn out hundreds of watered bossa-pop albums that have since given the style its lounge-addled image, but this album stands as a tribute to the vitality and adaptability of jazz. --Louis Gibson
 

Jazz Samba Encore!
Stan Getz & Luiz Bonfį
(1963)

Stan Getz With Guest
Artist Laurindo Almeida
with Stan Getz
(1963)

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Verve Jazz Masters 53:
Stan Getz & Bossa Nova
retrospective
 

Also See:
Charlie Byrd