Label: Analogphonic - LP43066 • Format: 3x, Vinyl LP, Compilation, Limited Edition, Sampler, Stereo 180g • Country: Europe • Genre: Jazz •
Add Genre. Add Styles. Add Moods. Add Themes. Bop saxophonist Stan Getz was almost single-handedly responsible for breaking bossa nova big in the United States. Classically trained jazz guitarist Charlie Byrd had toured in Brazil and fell under the sway of the burgeoning bossa nova -- an amalgam of samba and jazz influences -- movement there. He brought some recordings of the music back to Getz, who quickly went to work making arrangements with Verve Records for the landmark album that the two musicians eventually recorded inJazz Samba.
Included on the sessions for the album was Antonio Carlos Jobim, the legendary bossa nova guitarist, pianist, and composer of many of the album's songs. Indeed, she was not even credited on the original release of the record. Over the lilting samba rhythms and around Getz's cool sax lines, Joao Gilberto had laid down his Portuguese lyrics on the track in his trademark soft and simple voice, but producer Creed Taylor, sensing the commercial possibilities of the song, requested an English adaptation of some of the lines.
Astrud, who was just along for the visit to New York, was the only Brazilian who understood English enough to sing the adaptation by famed lyricist Norman Gimbel. One of the other composers of the song is Vinicius de Moraes, another legendary figure in Brazilian music. He had collaborated with Jobim on a number of projects already by the time they teamed up on this song. The Gilberto-Getz collaboration is the definitive version of the song, with intimate, soft-spoken, and ultra-present vocals and a subdued rhythm section, but "The Girl From Ipanema" has been recorded hundreds of times.
Notable among the covers is Nat King Cole's, from L-O-V-Ewhich swings the rhythm, all but ignoring the bossa nova origins of the song. It is effective in its mellow sophistication, Cole retaining the intention of the song with his Americanized arrangement.
Included is a great trumpet solo over a key modulation. Ella Fitzgerald recorded In It For Cash - Doom - World Of Shit more up-tempo reading, with guitarist Joe Pass soloing throughout. But this recording from Ella Abraca Jobim comes off as light jazz.
Oddly, it is the master stylist himself, Frank Sinatra, who stays closest to the original, keeping his improvisations to a minimum and singing it in an understated style.
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