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Stan Getz - Big Band Bossa Nova Full Album

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Stan Getz - Big Band Bossa Nova Full Album
Bossanova, Bossa Nova
  • Performer:
    Stan Getz
  • Title:
    Big Band Bossa Nova
  • Genre:
  • Style:
    Bossanova, Bossa Nova
  • Release date:
    1962
  • Country:
    US
  • Size FLAC version
    1309 mb
  • Size MP3 version
    2947 mb
  • Record from:
    Vinyl, LP, Album, Stereo, Gatefold

Tracklist

1Chega De Saudade3:58
2Melancolico4:42
3Balanço No Samba2:54
4Entre Amigos2:57
5Samba De Uma Nota So3:26
6Noite Triste4:55
7Bim Bom4:32
8Manha De Carnival5:47

Versions

CategoryArtistTitle (Format)LabelCategoryCountryYear
UCCV-3013Stan Getz Big Band Bossa Nova ‎(CD, Album, RE, RM, Min)Verve RecordsUCCV-3013Japan2002
BG-J-0460Stan Getz Big Band Bossa Nova ‎(CD, Album, RE)Verve RecordsBG-J-0460GermanyUnknown
37095Stan Getz Big Band Bossa Nova ‎(LP, Album, Ltd, RM, 180)Jazz Images37095Europe2018
V6-8494Stan Getz Big Band Bossa Nova ‎(LP, Album, Gat)Verve RecordsV6-8494CanadaUnknown
3 675Stan Getz, Gary Mc Farland Orchestra Stan Getz, Gary Mc Farland Orchestra - Big Band Bossa Nova ‎(LP, Album)Barclay-Verve3 675France1962

Credits

  • BassTommy Williams
  • Bass ClarinetRomeo Penque
  • Conductor, Arranged ByGary McFarland
  • DrumsJohnny Rae
  • Flute [Alto]Eddie Caine
  • French HornRay Alonge
  • GuitarJim Hall
  • Painting [Cover Art]Olga Albizu
  • PianoHank Jones
  • ProducerCreed Taylor
  • Tenor SaxophoneStan Getz
  • TromboneTony Studd
  • TrumpetClark Terry, Doc Severinsen

Notes

Recorded in New York City, August 27 & 28, 1962.

Barcodes

  • Matrix / Runout (Runout side A variant 1, etched): 62- VGS-602 V6 8494A
  • Matrix / Runout (Runout side B variant 1, etched): V6 8494B 62VGS-603RE3
  • Matrix / Runout (Runout side A variant 2, etched): 62- VGS-602 V6 8494A
  • Matrix / Runout (Runout side B variant 2, etched): 62-VGS-603-RE-2 ⇧ V6-8494-B

Album

Big Band Bossa Nova is a 1962 album by saxophonist Stan Getz with the Gary McFarland Orchestra. The album was arranged and conducted by Gary McFarland and produced by Creed Taylor for Verve Records. This was Stan's second bossa nova album for Verve following Jazz Samba, his very successful collaboration with guitarist Charlie Byrd. The music was recorded at the CBS 30th Street Studio in New York City on August 27 and 28, 1962. Формируйте собственную коллекцию записей Stan Getz. With Gary McFarland as an inspiration for this Bossa Nova masterpiece, Getz for a time, shed his American attitudes and fancied himself as the centerpiece for Brazilian musical expression. That said, and whether this album is ones cup of tea or not, I found myself eagerly waiting on this bit of wax with high anticipations, especially as it was a followup to to the Jazz Samba presentation with Charlie Byrd. 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. Stan Getz - Manna de Carnival 05:49, Kbs. Stan Getz - Balanco no Samba 03:04, Kbs. On this page you can listen to the album, get information about the album, see the list of songs and much more. Most important - you can download the album Bossa Nova History, Vol. 5 Big Band Bossa Nova to your computer or phone absolutely free of charge, and without registration. Listen online and stay in a good mood. Album: Bossa Nova History, Vol. 5 Big Band Bossa Nova 2018. Songs in album Stan Getz - Big Band Bossa Nova 1962. Stan Getz - Manha De Carnival Morning Of Carnival. Stan Getz - Balanco No Samba Street Dance. Stan Getz - Melancolico Melancholy. Stan Getz - Entre Amigos Sympathy Between Friends. Stan Getz - Chega De Saudade Too Much Longing. Stan Getz - Noite Triste Night Sadness. Stan Getz - Samba De Uma Nota So One Note Samba. Stan Getz - Bim Bom. Big Band Bossa Nova. Stan Getz. Bossa Nova Band Bossa Nova is a 1962 album by saxophonist Stan Getz with the Gary McFarland Orchestra. Big Band Bossa Nova, 1962. Manha de Carnaval Morning of Carnival, 05:49. Balanco No Samba, 03:00. Melancolico, 04:43. Entre Amigos, 02:59. Chega de Saudade No More Blues, 04:11. Noite Triste, 04:58. Stan Getz: The Bossa Nova Albums. Plays Bossa Nova Jazz Club. Getz Plays Jobim: The Girl From Ipanema. Jazz 'Round Midnight: Bossa Nova. Getz For Lovers. The Definitive Stan Getz. Bossa Nova: Verve Jazz Masters 53: Stan Getz. Bossa Nova Joao Gilberto. João Gilberto, Stan Getz, A. Jobim, Astrud Gilberto. 1995 Original Soundtrack Album. Birdland Sessions 1952. Stan Getz, Stan Getz Quintet. Don't Bother - Bossa Nova Dreams. With hindsight, Big Band Bossa Nova, the follow-up to Jazz Samba, seems like a mistake, or at best a diversion. Desafinado had yet to go clear and Getz and Creed Taylor-who produced all five albums in this box set-must have been wondering where to go next with the music. A big band, arranged and conducted by 28-year old wunderkind Gary McFarland, seemed like a good idea. But though McFarland's arrangements, and the four originals he brought to the session-which also included

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To begin with, this is not the sort of Bossa Nova one is going to hear from South America, this is an Americanized Bossa Nova for American sensibilities and ears. Secondly, with 1962 taking shape, the world would soon be swept away by the likes of the Beatles and all thing psychedelic, yet still, the 60’s were a time of change and influence, with the beautiful Bossa Nova incarnations that were sweeping across this nation at the time being cool and laid back, a far cry from the intensity of the street Samba that so noisily characterized the Brazilian carnivals.

Today, outside of cultural areas, these sounds are exotic, even romantic, and still, a musical aspiration that has come and gone, where Stan Getz brought about so many delightful and visionary warm notes. With Gary McFarland as an inspiration for this Bossa Nova masterpiece, Getz for a time, shed his American attitudes and fancied himself as the centerpiece for Brazilian musical expression. That said, and whether this album is one’s cup of tea or not, I found myself eagerly waiting on this bit of wax with high anticipations, especially as it was a followup to to the Jazz Samba presentation with Charlie Byrd. But alas, the record never clicked for me, making me think it was a slow-burner, that over time I’d be swept away under its spell, though I never was. For some reason, even to this day, I dislike saying that I was disappointed with the record, forever accepting that there was simply something wrong with my ears that I wasn’t catching the beat or feeling the groove, where if forced to confess, I’d gotten very bored with the record and my attempts to insert myself into its folds and gave up. Now, certainly the arrangements are good and explorative, and yes, the music is not altogether bad with their evolving textures and soloing by Stan’s sax, the piano and guitar, though for me, the record seemed to lack a soul and a spirit of authenticity that I’ve heard other artists express, where if anything, the record lacks that consistent big idea, sounding fractured into smaller good sections, yet never resounding as a cohesive emancipative whole.

The album is developed through four songs by Brazilian composers, along with four compositions by Gary McFarland, that said, the road turns sharply by the instrumentation chosen, the traditional big band format of eight brass and five saxophones for a smaller ensemble featuring four woodwinds and French horn as well as three trumpets and two trombones, with the four piece rhythm section is augmented by two percussionists.

The music found here didn’t simply appeal to audiophiles or jazz purists, the sounds ebbing from this album sent a wave of like-minded offerings thought the rock n’ roll community as well, though so many differing styles and attitudes simply muddied the waters, with no one able to articulate anything holding any actuality. Of course others were totally infatuated by the record, with Don DeMichael of Down Beat Magazine saying, “It seems impossible to improve on a nearly perfect record. This is one of the most musical albums I’ve heard in years.” All while others suggest that the record is entirely lyrical and inventive, where little diamonds have been strewn throughout the record, with the melodic awareness of Getz making him the man of the hour as a soloist, presenting phrasing that is refined and strong, immediate and surrounding, filled with colourful orchestral effects. Of course, simply writing this makes me want to again drop this record onto my turntable, where at last I too will be washed in dreamy elaborations that dissolve into notes that travel up and down the register with hauteur … but I know that I’ll never find my way to that spot, feeling it pointless to ever try again.

This is one of those Stan Getz albums that I can’t immerse myself into, but hey, as I said, the world was on the cusp of great changes, where less than a year from the date of this album’s release, the Fab Four would splinter my world so profoundly that it would take years for me to find my way back to what Stan Getz was doing.

Review by Jenell Kesler