Big Band Bossa Nova Stan Getz

Album info



Label: Verve Reissues

Genre: Jazz

Subgenre: Latin Jazz

Artist: Stan Getz

Album including Album cover

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  • 1Manha De Carnaval (Morning Of Carnival)05:49
  • 2Balanco No Samba03:00
  • 3Melancolico04:43
  • 4Entre Amigos03:00
  • 5Chega De Saudade (No More Blues)04:11
  • 6Noite Triste04:58
  • 7One Note Samba03:29
  • 8Bim Bom04:31
  • Total Runtime33:41

Info for Big Band Bossa Nova

For many North American music fans, Stan Getz was the figure associated most closely with the Brazilian jazz craze in the early 1960s. Unlike classic albums like Getz/Gilberto, however, 1962's „Big Band Bossa Nova“ sidesteps the delicate, airy quality of traditional bossa nova for a fusion music that folds in the bold, brassy sound of a large jazz ensemble.

Bossa nova purists may take issue with the fusion, which loses something of the form's elegance in translation, but there's still plenty to appreciate here. Tight, swinging arrangements, Getz's superb playing, and an excellent selection of tunes (Luis Bonfa's "Morning of the Carnival" and Antonio Carlos Jobim's "One Note Samba" are highlights), make this a thoroughly enjoyable listen.

„Fresh from the sudden success of Jazz Samba and "Desafinado," Stan Getz asked the 28-year-old, strikingly gifted Gary McFarland to arrange a bossa nova album for big band as a follow-up. Getz is always his debonair, wistful, freely-floating self, completely at home in the Brazilian idiom that he'd adopted only a few months before.“ (Richard Ginell, All Music)

„Getz’s melodic gift was never more evident; even the way he plays "straight" melody is masterful. Few jazzmen have had this gift - Lester Young did - and it has to do with singing by means of an instrument, for Getz doesn't just play a solo, he sings it,…“ (Don DeMichael, JazzMonthly)

Stan Getz, tenor saxophone
Doc Severisen, trumpet
Bernie Glow, trumpet
Joe Ferrante, trumpet
Clark Terry, trumpet
Nick Travis, trumpet
Ray Alonge, French horn
Tony Studd, trombone
Bob Brookmeyer, trombone
Willie Dennis, trombone
Ray Beckenstein, flute, clarinet
Gerald Sanfino, flute
Eddie Caine, alto flute
Babe Clark, clarinet
Walt Levinsky, clarinet
Romeo Penque, bass clarinet
Hank Jones, piano
Jim Hall, guitar
Tommy Williams, bass
Johnny Rae, drums
Jose Paulo, tambourine
Carmen Costa, cabassa
Gary McFarland, conductor

Recorded in New York, New York on August 27 & 28, 1962

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.

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