Stan Getz / Joao Gilberto - Getz/Gilberto MP3 Download

Getz/Gilberto songs With Birth of the Cool, Miles Davis distilled a new tonal palette for jazz. As early as 1954, Davis reacted to the escalating chordal complexity of hard bop by fashioning an evocative blues based on a simple scalar pattern ("Swing Spring"). Kind of Blue was the ultimate fulfillment of this approach, with Davis providing his collaborators little more than outlines for melodies and simple scales for improvisation. By emphasizing the blues and the improvisor's melodic gifts, Kind of Blue precipitated a major stylistic development: modal jazz. Charles Mingus had experimented with pedal points throughout the '50s, and the melodic freedom of Ornette Coleman's Atlantic sides was also predicated on freedom from chord changes. But Kind of Blue was to prove the most influential, enduring work of its kind. There was just such a vibe about these 1959 sessions -- Davis' lyric genius and burgeoning stardom, the innovative voicings and rarefied touch of pianist Bill Evans, the electrifying presence of John Coltrane, and Cannonball Adderley --that some 50-plus years after its initial release, Kind of Blue is still recognized as Davis' point of departure toward jazz's less-explored regions. Bill Evans' translucent chords and Paul Chambers' famous bassline herald the revolution that is "So What": Davis and Evans' taut, coiled lyricism stands in sharp relief to the saxophonists' labyrinthine elation. The fat, shimmering beat of the classic Evans/Chambers/Jimmy Cobb rhythm team is an oasis of calm throughout the childish blues of "Freddie Freeloader." Often credited to Davis, "Blue in Green" is an Evans masterpiece, in which the rhythmic oasis becomes a smoky mirage for Davis' minor reveries on muted horn. The waltzing "All Blues" is one of the smoothest, most swinging grooves in the history of jazz, while "Flamenco Sketches" reflects Davis' fascination with the earthy melodies and brooding metaphors of the Iberian peninsula; a harbinger of his next masterpiece, Sketches of Spain. Kind of Blue remains Miles Davis' most evocative piece of musical haiku. Liner Note Authors: Bill Evans ; Robert Palmer; Nat Hentoff; Robert Palmer . Recording information: Columbia 30th Street Studio, New York, NY (03/02/1959-04/22/1959); Columbia Street Studio, New York, NY (03/02/1959-04/22/1959). Photographers: Don Hunstein; Jay Maisel. Unknown Contributor Roles: Cannonball Adderley; John Coltrane; Bill Evans ; Wynton Kelly; Paul Chambers; Jimmy Cobb . Personnel: Miles Davis (trumpet); Miles Davis; Paul Chambers (double bass); Cannonball Adderley (alto saxophone); John Coltrane (tenor saxophone); Wynton Kelly, Bill Evans (piano); Jimmy Cobb (drums). Audio Remixer: Mark Wilder.

Getz/Gilberto buy CD music Dave Brubeck's TIME OUT ranks alongside Miles Davis' KIND OF BLUE as one of the few advanced jazz masterpieces to achieve great commercial success. In fact, the widespread popularity of TIME OUT, with its cool-toned ambience, smooth style, and elements borrowed from classical music, helped make modern jazz a mainstream phenomenon. The ubiquitous "Take Five" may be overplayed, but that doesn't diminish the joy of its complex melodic hooks, its perfectly executed solos, or the swinging slink of its 5/4 signature. "Blue Rondo a la Turk" collages Mozart, cool swing, and Brubeck's own classically oriented piano style, and the airy, delicate "Everybody's Jumpin'" showcases the lyrical splendor of saxophonist Paul Desmond. With bassist Gene Wright and drummer Joe Morello keeping the tricky rhythms agile and swift, the Dave Brubeck Quartet blended complexity and accessibility for pure jazz pleasure on TIME OUT, an album everyone should own. Recorded at Columbia 30th Street Studios, New York, New York on June 25, July 1 & August 18, 1959. Includes liner notes by Dave Brubeck and Steve Race. Dave Brubeck Quartet: Dave Brubeck (piano); Paul Desmond (alto saxophone); Eugene Wright (bass); Joe Morello (drums). Personnel: Dave Brubeck (piano); Eugene Wright, Paul Desmond (alto saxophone); Joe Morello (drums). Liner Note Authors: Dave Brubeck; Steve Race. Recording information: 30th Street Columbia Studios (06/25/1959-08/18/1959); 3oth Street Columbia Studios (06/25/1959-08/18/1959). Photographer: Don Hunstein.

Getz/Gilberto album for sale This remastered edition of MINGUS AH UM features six of the original tracks in unedited form and three bonus tracks. Digitally remastered using 20-bit technology by Mark Wilder and Rob Schwarz (Sony Music Studios, New York, New York). One of the five essential Mingus albums to own, and even if you are not a jazz fan this is still worthy of being in any comprehensive collection. The opening track, "Better Git It In Your Soul," rushes along at a furious pace and then there is a wonderful change of tempo into an a cappella and handclap pause. It rolls on, of course, but the nature of this track reflects the nature of Mingus who never failed to experiment (even though sometimes he failed). The personnel comprises John Handy III, Shafi Hadi and Booker Ervin (saxophones), Horace Parlan Jr (piano), Willie Dennis and James Knepper (trombones) and Charles Richmond (drums). Mingus whoops, shouts and holds it all together and then turns the pace majestically on numbers such as "Goodbye Pork Pie Hat. Additional Tracks Recorded at 30th Street Studio, New York, New York on May 5 & 12, 1959. Includes liner notes by Diane Dorr-Dorynek and Brian Priestley. Personnel: Charles Mingus (piano, bass); John Handy (alto & tenor saxophones, clarinet); Shafi Hadi (alto & tenor saxophones); Booker Ervin (tenor saxophone); Jimmy Knepper, Willie Dennis (trombone); Horace Parlan (piano); Dannie Richmond (drums). Producer: Teo Macero. Reissue producer: Michael Cuscuna. Recording information: 05/05/1959/05/12/1959.

Getz/Gilberto CD music Joao Gilberto is perhaps forever destined to be lesser known to casual jazz fans than his occasional collaborator Stan Getz (whose GETZ/GILBERTO albums introduced the United States to bossa nova) and his ex-wife Astrud Gilberto (whose shy, delicate voice made her one of the most distinctive and beloved jazz vocalists of the '60s). However, true fans of Brazilian music recognize that Gilberto is second only to Antonio Carlos Jobim as a writer and interpreter of traditional Brazilian music and Brazilian-influenced jazz. These two albums, collected in full on one CD, are among Gilberto's best solo albums. Alternating between standards like "'S Wonderful" or "Besame Mucho" and Brazilian tunes like Jobim's "Wave" and the original "Triste," AMOROSO is a fine, romantic jazz album. BRASIL, as the title suggests, consists of six traditional-style sambas, sung in Portuguese to acoustic guitars and hypnotic percussion. Both are essential to Gilberto fans and neophytes. AMOROSO was released in 1977. BRASIL was released in 1981. BRASIL personnel: Joao Gilberto (vocals, guitar); Gilberto Gil, Caetano Veloso, Maria Bethania (vocals); Clare Fisher (keyboards); Milcho Leviev, Michael Boddicker (synthesizer); Jim Hughart (bass); Joe Correro (drums); Paulhinho Da Costa (percussion). Producer: Joao Gilberto. Personnel: Joao Gilberto (vocals, guitar); Gerald Vinci, John Wittenberg, Joe Goodman, Bobby Dubow, Jerry Reisler, Robert Lipsett, Isabelle Daskoff, Israel Baker, Bonnie Douglas, Nathan Ross, Paul Shure, Bluestone (violin); David Schwartz, Helain Wittenberg, Marilyn Baker (viola); Anne Goodman (cello); Eddie Cainf, Glenn Garrett, Bud Shank (flute); Claire Fisher, Ralph Grierson (keyboards); Michael Boddicker, Milcho Leviev (synthesizer); Grady Tate, Joe Correro (drums); Paulinho Da Costa (percussion). Audio Mixer: Al Schmitt. Liner Note Author: Nelson Motta. Recording information: Britannia, Los Angeles, CA (11/17/1976-01/07/1977); Capitol Records, Hollywood, CA (11/17/1976-01/07/1977); Rosebud Studios, NY, NY (11/17/1976-01/07/1977); Sigla, Rio De Janeiro, Brazil (11/17/1976-01/07/1977); Sounds Good (11/17/1976-01/07/1977). Unknown Contributor Role: Stella Castellucci. Arrangers: Claus Ogerman; Johnny Mandel. AMOROSO personnel: Joao Gilberto (vocals, guitar); Ralph Grierson, Clare Fisher (keyboards); Milcho Leviev, Michael Boddicker (synthesizer); Jim Hughart (bass); Grady Tate, Joe Correro (drums). Producers: Tommy LiPuma, Helen Keane. Reissue

Getz/Gilberto buy CD music Perhaps Antonio Carlos Jobim's best-known album, 1967's WAVE was Jobim's first release for his longtime producer Creed Taylor's special CTI imprint at A&M Records. In fact, it was only the label's second release--after Wes Montgomery's A DAY IN THE LIFE--and WAVE went a long way towards establishing both the sound and even the look of the fledging label. Playing guitar, piano and harpsichord on these 10 original instrumentals, Jobim is backed by a small combo and Claus Ogerman's usually tasteful but occasionally overbearing strings. The tracks are brief--over half are under three minutes--introducing a theme, coloring it with a few brief solos and a lot of solid ensemble playing, and then fading. The overall mood is mellow without being sleepy, and as a whole, WAVE is a soothing, almost intoxicating delight. While it's probably not Jobim's best album, it's certainly one of his most offhandedly entertaining. Composer: Antonio Carlos Jobim. Personnel: Antonio Carlos Jobim (guitar, piano, celesta, harpsichord); Lewis Eley, Julius Held, Leo Kruczek, Joseph Malignaggi, Louis Stone, Louis Haber, Bernard Eichen, Raoul Poliakin, Gene Orloff, Irving Spice, Paul Gershman, Emanuel Green, Harry Lookofsky (violin); Abe Kessler, Charles McCracken , Harvey Shapiro , George Ricci (cello); Raymond Beckenstein, Jerome Richardson, Romeo Penque (flute, piccolo); Joseph Singer (French horn); Jimmy Cleveland, Urbie Green (trombone); Domun Roma, Claudio Gion, Bobby Rosengarden (drums, percussion); Dom Um Romao, Claudio Slon (drums). Liner Note Authors: Norman Gimbel; George Frazier. Recording information: Van Gelder Studios, Englewood Cliffs, NJ (05/22/1967-06/15/1967). Photographer: Pete Turner . Arranger: Claus Ogerman.

Getz/Gilberto songs Digitally remastered using 20-bit technology by Suha Gur (Polygram Studios). The album that launched Jobim's now classic "Desafinado" Jazz Samba was released in 1962, in the early days of America's bossa nova craze and before the music lost its charm to cliche. Joined by fellow Latin jazz pioneer Charlie Byrd on classical guitar, and a discreet bass and drums team, tenor saxophonist Getz makes light and elegant music out of a collection of catchy bossas and sambas. His virtuosity, bluesy drive and smooth, soft tone make the music cook like bossa jazz rarely has since. There are still enough surprises to make this record more than just a period piece, and it stands as a fine example of Getz's lyrical genius. This is part of the Verve Master Edition series. Recorded at Pierce Hall, All Souls Unitarian Church, Washington, D.C. on February 13, 1962. Originally released on Verve (8432). Includes liner notes by John Litweiler and Dom Cerulli. Recorded at All Souls Unitarian Church, Washington, D.C. on February 13, 1962. Originally released on Verve (V6-8432). Includes original release liner notes by Dom Cerulli. Personnel: Stan Getz (tenor saxophone); Charlie Byrd (guitar); Gene Byrd (guitar, bass); Keter Betts (bass); Buddy Deppenschmidt, Bill Reichenbach (drums). Producer: Creed Taylor. Reissue producer: Michael Lang. Personnel: Stan Getz (tenor saxophone); Charlie Byrd (guitar); Gene Byrd, Antonio Carlos Jobim (guitar); Bill Reichenbach , Buddy Deppenschmidt (drums). Liner Note Author: Dom Cerulli. Recording information: All Souls Unitarian Church, Washington D.C. (02/13/1962); Pierce Hall (02/13/1962); Pierce Hall, All Souls Unitarian Church, Washington DC (02/13/1962). Personnel: Stan Getz (tenor saxophone); Charlie Byrd (acoustic guitar); Gene Byrd (guitar, bass); Keter Betts (bass); Buddy Deppenschmidt, Bill Reichenbach (drums).