Astrud Gilberto – The Astrud Gilberto Album (1965/2014) FLAC (tracks) 24-bit/192 kHz | Time – 28:17 minutes | 1,24 GB | Genre: Jazz Studio Master, Official Digital Download – Source: HDTacks | @ Verve Records Recorded January 27-28, 1965 at RCA Studios, Hollywood.
The Astrud Gilberto Album is the first solo album by Brazilian singer Astrud Gilberto. Recorded after the unexpected success of the single “The Girl from Ipanema” on the album Getz / Gilberto, Astrud Gilberto recorded a solo album with some of the same musicians from Getz / Gilberto (including the incomparable Antonio Carlos Jobim). Astrud’s sweet, fragile voice was perfectly suited for singing Brazilian bossa nova repertoire, and the album featured beautiful string arrangements by Marty Paich; and talented musicians Bud Shank (flute), Joao Donato (piano), and Antonio Carlos Jobim (guitar). (more…)
One of Astrud Gilberto’s final albums for Verve, released in 1968. Windy includes a Beatles cover, the title song and Never My Love from The Association, all done with bossa nova flair. Gilberto’s young son Marcello joins her on a charming rendition of The Bare Necessities from The Jungle Book.
While assembled from seemingly disparate sessions arranged by Eumir Deodato, Don Sebesky, and Pat Williams, Windy nevertheless proves one of Astrud Gilberto’s most consistent and sublime efforts, artfully straddling the division between Brazilian bossa nova and American sunshine pop. Credit the aforementioned arrangers for much of the LP’s appeal — from a percolating rendition of the Association’s title cut to a neo-classical reinvention of the Beatles’ “In My Life,” the songs possess a lithe, shimmering beauty that perfectly complements Gilberto’s feathery vocals. Still, she can’t quite skirt the cloying sweetness that undermines so many of her mid-period Verve LPs — son Marcelo, who first joined his mother on the previous Beach Samba for an excruciating duet version of the Lovin Spoonful’s “You Didn’t Have to Be So Nice,” resurfaces here for a reading of The Jungle Book’s “The Bare Necessities,” proving yet again that children should be seen and not heard. –Jason Ankeny
Softly, softly Astrud Gilberto’s voice captured the hearts of the American people. Before this, a handful of musicians had infected the cool jazz of the Sixties with the bossa nova virus from Brazil and set a wave of enthusiasm in motion. Together with Stan Getz, Astrud scored a super hit. And ever since then, the ‘Girl from Ipanema’ had a name. Astrud’s singing is neither full of vocal acrobatics nor can it be described in superlatives. Her natural voice creates a quiet, glowing atmosphere and enchants us with its simple elegance and power of expression.
Astrud Gilberto’s third album on the Verve label, “Look to the Rainbow”, is considered to be her most important disc – one reason being perhaps the successful mixture of songs from both South and North America. Whatever the reason, star arranger Gil Evans’s sensitive background music reveals his great talent for pinpointing and underlining a totally unique voice. The result? Every single number on this recording is a soft, miniature work of art.
As the 1960s drew to a close and the bossa nova craze had long faded, Astrud Gilberto was now squarely a jazz/easy listening artist, recording sparsely-arranged Burt Bacharach, Michel Legrand and Harry Nilsson numbers. Gilberto called this her “fireplace album” due to the intimacy of the performances and the stripped-down production.
„With her tenure on Verve drawing to a close, Astrud Gilberto steps further away from her bossa nova roots with I Haven’t Got Anything Better to Do, an intimate, nocturnal set closer in scope and spirit to the Baroque pop of Burt Bacharach, whose ‘Trains and Boats and Planes’ is beautifully rendered here. In the liner notes Gilberto dubs it ‘my fireplace album,’ and indeed the record is immediately warm and comforting, despite the melancholy that colors all of the selections. Albert Gorgoni’s arrangements are sumptuously romantic, perfectly complementing the simple, poignant vocals. Mistakenly considered a minor entry in the Gilberto canon, I Haven’t Got Anything Better to Do is instead a minor masterpiece. Each song is ideally suited to her distinctive style and the disc as a whole maintains a consistency of mood and feeling largely unmatched in her catalog.“ –Jason Ankeny, All Music
Originally released in 1967, Astrud Gilberto’s „Beach Samba“ is one of the Brazilian songstress’ classic albums. The bossa nova craze–ignited in 1963, by Gilberto herself, with her lovely, artless vocal on Stan Getz’s ‘The Girl from Ipanema’–was winding down.
The album sees Gilberto stretching beyond her usual collection of bossa novas and sambas, though the title track and ‘Nao Bate O Corocao’ are two of her best, into relaxed, swinging versions of such pop standards as ‘Misty Roses’ and ‘My Foolish Heart.’ Perhaps the oddest inclusion is a cover of The Lovin’ Spoonful’s ‘You Didn’t Have To Be So Nice,’ sung by Gilberto as a duet with her eight-year-old son, which is better than you might expect.
Like the album as a whole, it’s perfectly charming and delightful. Peculiarly, the album ends with five tracks from Gilberto’s classic 1966 album with the Walter Wanderley Trio.
Although the name Stan Getz (tenor sax) was initially synonymous with the West Coast cool scene during the mid-to-late 1950s, he likewise became a key component in the Bossa Nova craze of the early 1960s. Along with Astrud Gilberto (vocals), Getz scored a genre-defining hit with the “Girl From Ipanema,” extracted from the equally lauded Getz/Gilberto (1963). While that platter primarily consists of duets between Getz and João Gilberto (guitar/vocals), it was truly serendipity that teamed Getz with João’s wife Astrud, who claims to have never sung a note outside of her own home prior to the session that launched her career. Getz Au Go Go Featuring Astrud Gilberto (1964) was the second-to-last album that he would issue during his self-proclaimed “Bossa Nova Era” — the final being Getz/Gilberto #2 [Live] (1964) concert title from Carnegie Hall. In many ways, that is a logical successor to this one, as both include the “New Stan Getz Quartet.” The band features a young Gary Burton (vibraphone), Kenny Burrell (guitar), Gene Cherico (bass), and Joe Hunt (drums). As is typical with jazz, there are a few personnel substitutions, with Helcio Milito (drums) and Chuck Israels (bass), respectively, filling in on nearly half the effort. As the name of the disc intimates, this recording hails from the venerable Greenwich Village venue, the Café Au Go Go, in mid-August of 1964 — two months after “Girl From Ipanema” became a Top Five pop single. However, the focus of Getz Au Go Go steers away from the Brazilian flavored fare, bringing Astrud Gilberto into the realm of a decidedly more North American style. That said, there are a few Antonio Carlos Jobim compositions — “Corcovado (Quiet Nights of Quiet Stars)” and “One Note Samba” — both of which would be considered as jazz standards in years to follow — as well as the lesser-circulated “Eu E Voce.” Getz and crew gather behind Richard Rodgers and Oscar Hammerstein’s “It Might as Well Be Spring,” and the scintillating instrumental “Summertime,” from Porgy & Bess. Other equally engaging cuts include affective vocal readings of “Only Trust Your Heart,” and the diminutive, yet catchy “Telephone Song.” There is also some great interaction between Getz and Burton on “Here’s to That Rainy Day.” Getz Au Go Go is highly recommended for all dimensions of jazz enthusiasts. –Lindsay Planer (more…)
Mastered by George Marino at Sterling Sound from the original analog master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.
The original master tapes for this title had not been used since 1980 previous to this reissue. Also, for this Analogue Productions reissue the decision was made to master and present this album as it was originally mixed to master tape. With very few exceptions all versions of this title to date, including the original, have had the channels incorrectly reversed. With this version, you’ll hear this title as it was intended to be heard, without the channels reversed. And again, those reissues you’ve heard up until now – definitely still breathy, warm and rich – were made from something less than the master. Prepare to hear the veil removed
Astrud Gilberto says that her husband, Joao, informed Stan Getz that she “could sing at the recording.” Creed Taylor recalls that it took Getz’s wife, Monica, to get both Astrud and Joao into the recording studio; Mrs. Getz had a sense that Astrud could make a hit. And Getz himself is on record saying that he insisted on Astrud’s presence over the others’ objections. So who’s right? What does it matter? The Gilbertos, Getz and the legendary Antonio Carlos Jobim followed up the bossa nova success of Jazz Samba with this, the defining LP of the genre. With one of the greatest hit singles jazz has ever known – each one who hears it goes “Ahhh!”
Originally released in March of 1964, this legendary collaboration between saxophonist Stan Getz and guitarist Joao Gilberto came at the end of the bossa nova craze Getz had sparked in 1962 with Jazz Samba. In fact, Getz had to push for the release of Getz/Gilberto as his record company didn’t want to compete with their own hit. The album ended up spending 96 weeks on the charts and won four Grammy Awards. Getz/Gilberto remains one of those rare cases in popular music where commercial success matches the artistic merit.
Stan Getz And Joao Gilberto – Getz-Gilberto (1964) [SACD] (2002 Remaster ISO) | 1.59 GB
Stan Getz And Joao Gilberto – Getz-Gilberto (1964) [SACD] (2004 Japan Remaster ISO) | 1.35 GB
Stan Getz And Joao Gilberto – Getz-Gilberto (1964) [Analogue Productions 2011] (SACD-ISO) | 1.37 GB
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.