Stan Getz & Joao Gilberto - Getz / Gilberto
Stan Getz & Joao Gilberto - Getz/Gilberto
Jazz | EAC-Rip | FLAC-5 Image+CUE+LOG | 210 MB. total
mp3 versions (lame 3.98.3): @320cbr (91,3 MB.) & VBR-4 (44,7 MB.)
400 dpi. Complete Scans: PNG (212 MB.) & JPG (39,4 MB.) | WinRar, 5% recovery
Audio CD | Label: LIM Records | Catalog#: LIM-K2HD-036 | Release Date: 2009 | 38:53 min.
Jazz | EAC-Rip | FLAC-5 Image+CUE+LOG | 210 MB. total
mp3 versions (lame 3.98.3): @320cbr (91,3 MB.) & VBR-4 (44,7 MB.)
400 dpi. Complete Scans: PNG (212 MB.) & JPG (39,4 MB.) | WinRar, 5% recovery
Audio CD | Label: LIM Records | Catalog#: LIM-K2HD-036 | Release Date: 2009 | 38:53 min.
Personnel: Stan Getz (tenor saxophone); Joao Gilberto (vocals, guitar); Astrud Gilberto (vocals); Antonio Carlos Jobim (guitar, piano);
Tommy William (bass) and Milton Banana (drums).
Recorded at A & R Studios, New York City, on March 18 and 19, 1963.
Stanley Gayetzky or Stanley Gayetsky (born February 2, 1927 – June 6, 1991), usually known by his stage name Stan Getz, was an American jazz
saxophone player. Getz was known as "The Sound" because of his warm, lyrical tone, his prime influence being the wispy, mellow tone of his idol,
Lester Young.
Life and career
–––––––-
Getz was born on February 2, 1927, in Philadelphia, Pennsylvania. His parents were Ukrainian Jews who immigrated from the Kiev area
in Ukraine in 1903. The family later moved to New York City for better jobs. Stan worked hard in school, receiving straight As,
and finished 6th grade close to the top of his class. Getz's major interest was in musical instruments, and he felt a need to play
every instrument in sight. He played a number of them before his father bought him his first saxophone at the age of 13.
Even though his father also got him a clarinet, Getz instantly fell in love with the saxophone and began practicing 8 hours a day.
He attended James Monroe High School (New York) in the Bronx. In 1941, he was accepted into the All City High School Orchestra of New York City.
This gave him a chance to receive private, free tutoring from the New York Philharmonic's Simon Kovar, a bassoon player. He also continued playing
the saxophone. He eventually dropped out of school in order to pursue his musical career, but was later sent back to the classroom by the
school system's truancy officers.
In 1943 at the age 15, he was accepted into Jack Teagarden's band, and because of his youth he became Teagarden's ward. Getz also played along with
Nat King Cole and Lionel Hampton. After playing for Stan Kenton, Jimmy Dorsey, and Benny Goodman, Getz was a soloist with Woody Herman
from 1947 to 1949 in 'The Second Herd', and he first gained wide attention as one of the band's saxophonists, who were known collectively as
'The Four Brothers', the others being Serge Chaloff, Zoot Sims and Herbie Steward. With Herman, he had a hit with "Early Autumn" and after Getz left
'The Second Herd' he was able to launch his solo career. He would be the leader on almost all of his recording sessions after 1950.
In the mid to late 1950s working from Scandinavia, Getz became popular playing cool jazz with Horace Silver, Johnny Smith, Oscar Peterson,
and many others. His first two quintets were notable for their personnel, including Charlie Parker's rhythm section of drummer Roy Haynes,
pianist Al Haig and bassist Tommy Potter. A 1953 line-up of the Dizzy Gillespie/Stan Getz Sextet featured Gillespie, Getz, Oscar Peterson,
Herb Ellis, Ray Brown and Max Roach.
Returning to the U.S. from Europe in 1961, Getz became a central figure in introducing bossa nova music to the American audience.
Teaming with guitarist Charlie Byrd, who had just returned from a U.S. State Department tour of Brazil, Getz recorded Jazz Samba in 1962
and it became a hit. The title track was an adaptation of Antonio Carlos Jobim's "One Note Samba". Getz won the Grammy for
Best Jazz Performance of 1963 for "Desafinado," from the same album. As a follow-up, Getz recorded Jazz Samba Encore! with one of the originators
of bossa nova, Brazilian guitarist Luiz Bonfa.
He then recorded the album Getz/Gilberto with Tom Jobim, João Gilberto and his wife, Astrud Gilberto. Their "The Girl from Ipanema"
won a Grammy Award. The piece became one of the most well-known latin jazz cuts of all time. Getz/Gilberto won
two Grammys (Best Album and Best Single), besting The Beatles' A Hard Day's Night, a victory for bossa nova and Brazilian jazz. A live album,
Getz/Gilberto Vol. 2, followed, as did Getz Au Go Go, a live recording at the Cafe Au Go Go. Getz's affair with Astrud Gilberto brought an
end to his musical partnership with her and her husband, and he began to move away from bossa nova and back to cool jazz. Even while still
working with the Gilbertos, he recorded Nobody Else But Me, an album of straightforward jazz with a new quartet including vibraphonist
Gary Burton, but Verve Records, wishing to continue building the Getz brand with bossa nova, refused to release it. It eventually came out
30 years later, after Getz had died.
In 1972, Getz recorded in the fusion idiom with Chick Corea Tony Williams and Stanley Clarke. This group, without Getz, went on to become
the famous Return to Forever, and many of the pieces including "La Fiesta" remained in their repertoire. In this period Getz experimented
with an Echoplex on his saxophone, for which critics vilified him. He eventually discarded fusion and "electric jazz," returning to acoustic jazz,
while at the same time gradually deemphasizing bossa nova, opting for more esoteric and less-mainstream jazz. He had a cameo in the movie
The Exterminator (1980).
Towards the end of his life the then drug-free Getz had another creative peak with a group including the pianist Kenny Barron, whom Getz
described as "my musical other half." His tenor saxophone of choice was the Selmer Mark VI, and on early recordings he uses a
White Plastic Brilhart Tonalin mouthpiece, however from the Bossa Nova years forward, he preferred a hard rubber Otto Link Tone Edge 5*
Slant Signature mouthpiece made in Florida. This mouthpiece seemed to be a perfect fit for his cool smooth tone. His reed of choice was
the LaVoz Medium Hard.
In the mid-1980s he worked regularly in the San Francisco Bay area and taught at Stanford University where he was artist-in-residence
at the Stanford Jazz Workshop until 1988. In 1986, he was inducted into the Down Beat Jazz Hall of Fame. During 1988, Stan worked with
Huey Lewis and the News on their Small World album. He contributed to the single, Small World.
Personal life
––––––-
Getz married Beverly Byrne, a vocalist with the Gene Krupa band, on November 7, 1946; they had three children together: Steven, David, and Beverly.
Getz became involved with drugs and alcohol while a teenager. In 1954, he was arrested for attempting to rob a pharmacy to get a morphine fix.
As he was being processed in the prison ward of Los Angeles County-USC Medical Center, Beverly gave birth to their third child one floor below.
Getz tried to escape his narcotics addiction by moving to Copenhagen. He married Swedish aristocrat Monica Silfverskiöld on November 3, 1956,
and had two children with her: Pamela and Nicolas. Getz divorced Monica in 1987.
Zoot Sims, who had known Getz since their time with Herman, once described him as 'a nice bunch of guys', as a consequence of the wide behavioural
range of which Getz was capable. In the final stages of his life Getz was able to end his addictions.
Getz died of liver cancer in 1991. His body was cremated and the ashes scattered at sea, off the coast of Malibu, California.
In 1998, the 'Stan Getz Media Center and Library' at the Berklee College of Music was dedicated through a donation from the Herb Alpert Foundation.
full description can be found here:
http://en.wikipedia.org/wiki/Stan_Getz
saxophone player. Getz was known as "The Sound" because of his warm, lyrical tone, his prime influence being the wispy, mellow tone of his idol,
Lester Young.
Life and career
–––––––-
Getz was born on February 2, 1927, in Philadelphia, Pennsylvania. His parents were Ukrainian Jews who immigrated from the Kiev area
in Ukraine in 1903. The family later moved to New York City for better jobs. Stan worked hard in school, receiving straight As,
and finished 6th grade close to the top of his class. Getz's major interest was in musical instruments, and he felt a need to play
every instrument in sight. He played a number of them before his father bought him his first saxophone at the age of 13.
Even though his father also got him a clarinet, Getz instantly fell in love with the saxophone and began practicing 8 hours a day.
He attended James Monroe High School (New York) in the Bronx. In 1941, he was accepted into the All City High School Orchestra of New York City.
This gave him a chance to receive private, free tutoring from the New York Philharmonic's Simon Kovar, a bassoon player. He also continued playing
the saxophone. He eventually dropped out of school in order to pursue his musical career, but was later sent back to the classroom by the
school system's truancy officers.
In 1943 at the age 15, he was accepted into Jack Teagarden's band, and because of his youth he became Teagarden's ward. Getz also played along with
Nat King Cole and Lionel Hampton. After playing for Stan Kenton, Jimmy Dorsey, and Benny Goodman, Getz was a soloist with Woody Herman
from 1947 to 1949 in 'The Second Herd', and he first gained wide attention as one of the band's saxophonists, who were known collectively as
'The Four Brothers', the others being Serge Chaloff, Zoot Sims and Herbie Steward. With Herman, he had a hit with "Early Autumn" and after Getz left
'The Second Herd' he was able to launch his solo career. He would be the leader on almost all of his recording sessions after 1950.
In the mid to late 1950s working from Scandinavia, Getz became popular playing cool jazz with Horace Silver, Johnny Smith, Oscar Peterson,
and many others. His first two quintets were notable for their personnel, including Charlie Parker's rhythm section of drummer Roy Haynes,
pianist Al Haig and bassist Tommy Potter. A 1953 line-up of the Dizzy Gillespie/Stan Getz Sextet featured Gillespie, Getz, Oscar Peterson,
Herb Ellis, Ray Brown and Max Roach.
Returning to the U.S. from Europe in 1961, Getz became a central figure in introducing bossa nova music to the American audience.
Teaming with guitarist Charlie Byrd, who had just returned from a U.S. State Department tour of Brazil, Getz recorded Jazz Samba in 1962
and it became a hit. The title track was an adaptation of Antonio Carlos Jobim's "One Note Samba". Getz won the Grammy for
Best Jazz Performance of 1963 for "Desafinado," from the same album. As a follow-up, Getz recorded Jazz Samba Encore! with one of the originators
of bossa nova, Brazilian guitarist Luiz Bonfa.
He then recorded the album Getz/Gilberto with Tom Jobim, João Gilberto and his wife, Astrud Gilberto. Their "The Girl from Ipanema"
won a Grammy Award. The piece became one of the most well-known latin jazz cuts of all time. Getz/Gilberto won
two Grammys (Best Album and Best Single), besting The Beatles' A Hard Day's Night, a victory for bossa nova and Brazilian jazz. A live album,
Getz/Gilberto Vol. 2, followed, as did Getz Au Go Go, a live recording at the Cafe Au Go Go. Getz's affair with Astrud Gilberto brought an
end to his musical partnership with her and her husband, and he began to move away from bossa nova and back to cool jazz. Even while still
working with the Gilbertos, he recorded Nobody Else But Me, an album of straightforward jazz with a new quartet including vibraphonist
Gary Burton, but Verve Records, wishing to continue building the Getz brand with bossa nova, refused to release it. It eventually came out
30 years later, after Getz had died.
In 1972, Getz recorded in the fusion idiom with Chick Corea Tony Williams and Stanley Clarke. This group, without Getz, went on to become
the famous Return to Forever, and many of the pieces including "La Fiesta" remained in their repertoire. In this period Getz experimented
with an Echoplex on his saxophone, for which critics vilified him. He eventually discarded fusion and "electric jazz," returning to acoustic jazz,
while at the same time gradually deemphasizing bossa nova, opting for more esoteric and less-mainstream jazz. He had a cameo in the movie
The Exterminator (1980).
Towards the end of his life the then drug-free Getz had another creative peak with a group including the pianist Kenny Barron, whom Getz
described as "my musical other half." His tenor saxophone of choice was the Selmer Mark VI, and on early recordings he uses a
White Plastic Brilhart Tonalin mouthpiece, however from the Bossa Nova years forward, he preferred a hard rubber Otto Link Tone Edge 5*
Slant Signature mouthpiece made in Florida. This mouthpiece seemed to be a perfect fit for his cool smooth tone. His reed of choice was
the LaVoz Medium Hard.
In the mid-1980s he worked regularly in the San Francisco Bay area and taught at Stanford University where he was artist-in-residence
at the Stanford Jazz Workshop until 1988. In 1986, he was inducted into the Down Beat Jazz Hall of Fame. During 1988, Stan worked with
Huey Lewis and the News on their Small World album. He contributed to the single, Small World.
Personal life
––––––-
Getz married Beverly Byrne, a vocalist with the Gene Krupa band, on November 7, 1946; they had three children together: Steven, David, and Beverly.
Getz became involved with drugs and alcohol while a teenager. In 1954, he was arrested for attempting to rob a pharmacy to get a morphine fix.
As he was being processed in the prison ward of Los Angeles County-USC Medical Center, Beverly gave birth to their third child one floor below.
Getz tried to escape his narcotics addiction by moving to Copenhagen. He married Swedish aristocrat Monica Silfverskiöld on November 3, 1956,
and had two children with her: Pamela and Nicolas. Getz divorced Monica in 1987.
Zoot Sims, who had known Getz since their time with Herman, once described him as 'a nice bunch of guys', as a consequence of the wide behavioural
range of which Getz was capable. In the final stages of his life Getz was able to end his addictions.
Getz died of liver cancer in 1991. His body was cremated and the ashes scattered at sea, off the coast of Malibu, California.
In 1998, the 'Stan Getz Media Center and Library' at the Berklee College of Music was dedicated through a donation from the Herb Alpert Foundation.
full description can be found here:
http://en.wikipedia.org/wiki/Stan_Getz
João Gilberto (born João Gilberto Prado Pereira de Oliveira on June 10, 1931 in Juazeiro, Bahia) is a Grammy Award-winning Brazilian singer
and guitarist. He is credited with having created the bossa nova beat and is known as the "Father of Bossa Nova." His seminal recordings,
including many songs by Antonio Carlos Jobim and Vinicius de Moraes, established the new musical genre in the late 1950s.
Biography
––––-
From an early age, music was a part of João Gilberto's life. His grandfather bought him his first guitar at the age of 14. During high school,
Gilberto teamed up with some of his classmates to form a small band. Gilberto, who led the band, was influenced by Brazilian popular songs,
American jazz, and even some opera, among other genres. After trying his luck as a radio singer in Salvador, Bahia, the young Gilberto was
recruited in 1950 as lead singer of the vocal quintet Garotos da Lua (Moon Boys) and moved to Rio de Janeiro. A year and a half later, he was
dismissed from the group for his lack of discipline (he would often show up late to rehearsals or not at all).
João Gilberto's first recordings were released in Brazil as two-song 78-rpm singles between 1951 and 1959. In the 1960s, Brazilian singles
evolved to the "double compact" format, and João would release some EPs in this new format, which carried 4 songs on a 45-rpm record.
For seven years, Gilberto's career was at a low ebb. He rarely had any work, was dependent on his friends for living quarters, and fell into
chronic depression. Eventually he was rescued from this rut by Luiz Telles, leader of the vocal group Quitandinha Serenaders, who took him
to Porto Alegre in southern Brazil. In this provincial town João Gilberto blossomed. Next he spent eight months with his sister in Minas Gerais,
where he sequestered himself and played day and night, forging a personal style for voice and guitar that would come to be known as bossa nova.
The first bossa nova song, titled "Bim-Bom", was written as Gilberto watched passing laundresses on the banks of the São Francisco River
balance loads of clothes on their heads.
Bossa nova is a refined version of samba, de-emphasizing the percussive aspect of its rhythm and enriching the melodic and harmonic content.
Rather than relying on the traditional Afro-Brazilian percussive instruments, João Gilberto often eschews all accompaniment except his guitar,
which he uses as a percussive as well as a harmonic instrument, incorporating what would be the role of the tamborim in a full batucada band.
The singing style he developed is almost whispering, economical, and without vibrato. He creates his tempo tensions by singing ahead or
behind the beat.
This style, which Gilberto introduced in 1957, created a sensation in the musical circles of Rio's Zona Sul, and many young guitarists
sought to imitate it. It was first heard on record in 1958, when João Gilberto accompanied singer Elizete Cardoso in a recording of
"Chega de Saudade", a song by Antonio Carlos Jobim and Vinicius de Moraes. Shortly after this recording, João Gilberto made his own
debut single of the same song, followed by the 1959 LP, Chega de Saudade. The song () turned into a hit, launching Gilberto's career and
the bossa nova craze. Besides a number of Jobim compositions, the album featured older sambas and popular songs from the 1940s and '50s,
all performed in Gilberto's distinctive style. This album was followed by two more in 1960 and 1961, by which time the singer featured
new songs by a younger generation of performer/composers such as Carlos Lyra and Roberto Menescal.
By 1962, bossa nova had been embraced by North American jazz musicians such as Herbie Mann, Charlie Byrd, and Stan Getz, who invited Gilberto
and Jobim to collaborate on what became one of the best-selling jazz albums of all time, Getz/Gilberto. Through this album, Gilberto's
then wife Astrud – who had never sung professionally prior to this recording session[1] – became an international star, and the
Jobim/de Moraes composition "The Girl from Ipanema" became a worldwide pop music standard.
João Gilberto lived in the United States from 1962 until 1969, when he moved to Mexico for two years. There he recorded
João Gilberto en México (1970). João Gilberto, aka the "White Album" (1973), featured hypnotic minimalist execution, limited to the singer,
his guitar, and Sonny Carr on drums. 1976 saw the release of The Best of Two Worlds, a reunion with Stan Getz, featuring singer Miúcha,
(sister of Chico Buarque), who had become Gilberto's second wife in April 1965. Amoroso (1977) backed Gilberto with the lush string
orchestration of Claus Ogerman, who had provided a similar sound to Jobim's instrumental recordings in the late 1960s and early 1970s.
As had been the case for all of Gilberto's albums, the album consisted mostly of Jobim compositions, mixed with older sambas and an
occasional North American standard from the 1940s.
João Gilberto returned to Brazil in 1980. The following year saw the release of Brasil, with guests Gilberto Gil and Caetano Veloso,
who in the late 1960s had founded the Tropicalia movement, a fusion of Brazilian popular music with foreign pop. The 1991 release João,
with orchestrations by Clare Fischer, was unusual in its lack of even a single Jobim composition, instead featuring songs in English,
French, Italian, and Spanish, plus old sambas and the solitary contemporary song "Sampa" (Caetano Veloso). Also released in 1991 was the
album Canto do Pajé by Veloso's sister Maria Bethânia, on which Bethânia and Gilberto sing an intimate medley of "Maria"
(Ary Barroso/Luiz Peixoto) and "Linda Flor"' (Henrique Vogeler/Luiz Peixoto/Marques Pôrto), accompanied solely by his guitar.
João Voz e Violão (2000) was an homage to the music of Gilberto's youth as well as a nod to producer Caetano Veloso.
Evenly interspersed with these studio recordings have been the live recordings Live in Montreux; João Gilberto Prado Pereira de Oliveira;
Eu Sei Que Vou Te Amar; Live at Umbria Jazz; and Live in Tokyo.
While all of Gilberto's albums since Getz/Gilberto have been released on CD, the first three domestic albums were released in 1988 by
EMI on a single CD entitled The Legendary João Gilberto: The Original Bossa Nova Recordings (1958–1961). The disc also included three tracks
from the singer's 1959 Orfeu Negro EP: "Manhã de Carnaval," O Nosso Amor, and A Felicidade, the latter two merged into a single medley track
to fit within the recording time of a CD. After its release, Gilberto successfully sued to have the title removed from sale as an unauthorized
release of his artistic works.
João Gilberto has long had a reputation as an artist who values his privacy. He lives in an apartment in Leblon, Rio de Janeiro, refusing
interviews and avoiding crowds. He also has high standards for acoustics and noise control. He has been known to walk out on performances in
response to audiences that interfere with the music by creating inappropriate noise, or out of theaters possessing poor acoustics, and
on several occasions requested that the air conditioning be turned off at concert venues. He continues to perform to sell-out crowds in Brazil
as well as in Europe, North America, and Japan.
He is the father of singer Bebel Gilberto.
detailed information can found here:
http://en.wikipedia.org/wiki/Jo%C3%A3o_Gilberto
and guitarist. He is credited with having created the bossa nova beat and is known as the "Father of Bossa Nova." His seminal recordings,
including many songs by Antonio Carlos Jobim and Vinicius de Moraes, established the new musical genre in the late 1950s.
Biography
––––-
From an early age, music was a part of João Gilberto's life. His grandfather bought him his first guitar at the age of 14. During high school,
Gilberto teamed up with some of his classmates to form a small band. Gilberto, who led the band, was influenced by Brazilian popular songs,
American jazz, and even some opera, among other genres. After trying his luck as a radio singer in Salvador, Bahia, the young Gilberto was
recruited in 1950 as lead singer of the vocal quintet Garotos da Lua (Moon Boys) and moved to Rio de Janeiro. A year and a half later, he was
dismissed from the group for his lack of discipline (he would often show up late to rehearsals or not at all).
João Gilberto's first recordings were released in Brazil as two-song 78-rpm singles between 1951 and 1959. In the 1960s, Brazilian singles
evolved to the "double compact" format, and João would release some EPs in this new format, which carried 4 songs on a 45-rpm record.
For seven years, Gilberto's career was at a low ebb. He rarely had any work, was dependent on his friends for living quarters, and fell into
chronic depression. Eventually he was rescued from this rut by Luiz Telles, leader of the vocal group Quitandinha Serenaders, who took him
to Porto Alegre in southern Brazil. In this provincial town João Gilberto blossomed. Next he spent eight months with his sister in Minas Gerais,
where he sequestered himself and played day and night, forging a personal style for voice and guitar that would come to be known as bossa nova.
The first bossa nova song, titled "Bim-Bom", was written as Gilberto watched passing laundresses on the banks of the São Francisco River
balance loads of clothes on their heads.
Bossa nova is a refined version of samba, de-emphasizing the percussive aspect of its rhythm and enriching the melodic and harmonic content.
Rather than relying on the traditional Afro-Brazilian percussive instruments, João Gilberto often eschews all accompaniment except his guitar,
which he uses as a percussive as well as a harmonic instrument, incorporating what would be the role of the tamborim in a full batucada band.
The singing style he developed is almost whispering, economical, and without vibrato. He creates his tempo tensions by singing ahead or
behind the beat.
This style, which Gilberto introduced in 1957, created a sensation in the musical circles of Rio's Zona Sul, and many young guitarists
sought to imitate it. It was first heard on record in 1958, when João Gilberto accompanied singer Elizete Cardoso in a recording of
"Chega de Saudade", a song by Antonio Carlos Jobim and Vinicius de Moraes. Shortly after this recording, João Gilberto made his own
debut single of the same song, followed by the 1959 LP, Chega de Saudade. The song () turned into a hit, launching Gilberto's career and
the bossa nova craze. Besides a number of Jobim compositions, the album featured older sambas and popular songs from the 1940s and '50s,
all performed in Gilberto's distinctive style. This album was followed by two more in 1960 and 1961, by which time the singer featured
new songs by a younger generation of performer/composers such as Carlos Lyra and Roberto Menescal.
By 1962, bossa nova had been embraced by North American jazz musicians such as Herbie Mann, Charlie Byrd, and Stan Getz, who invited Gilberto
and Jobim to collaborate on what became one of the best-selling jazz albums of all time, Getz/Gilberto. Through this album, Gilberto's
then wife Astrud – who had never sung professionally prior to this recording session[1] – became an international star, and the
Jobim/de Moraes composition "The Girl from Ipanema" became a worldwide pop music standard.
João Gilberto lived in the United States from 1962 until 1969, when he moved to Mexico for two years. There he recorded
João Gilberto en México (1970). João Gilberto, aka the "White Album" (1973), featured hypnotic minimalist execution, limited to the singer,
his guitar, and Sonny Carr on drums. 1976 saw the release of The Best of Two Worlds, a reunion with Stan Getz, featuring singer Miúcha,
(sister of Chico Buarque), who had become Gilberto's second wife in April 1965. Amoroso (1977) backed Gilberto with the lush string
orchestration of Claus Ogerman, who had provided a similar sound to Jobim's instrumental recordings in the late 1960s and early 1970s.
As had been the case for all of Gilberto's albums, the album consisted mostly of Jobim compositions, mixed with older sambas and an
occasional North American standard from the 1940s.
João Gilberto returned to Brazil in 1980. The following year saw the release of Brasil, with guests Gilberto Gil and Caetano Veloso,
who in the late 1960s had founded the Tropicalia movement, a fusion of Brazilian popular music with foreign pop. The 1991 release João,
with orchestrations by Clare Fischer, was unusual in its lack of even a single Jobim composition, instead featuring songs in English,
French, Italian, and Spanish, plus old sambas and the solitary contemporary song "Sampa" (Caetano Veloso). Also released in 1991 was the
album Canto do Pajé by Veloso's sister Maria Bethânia, on which Bethânia and Gilberto sing an intimate medley of "Maria"
(Ary Barroso/Luiz Peixoto) and "Linda Flor"' (Henrique Vogeler/Luiz Peixoto/Marques Pôrto), accompanied solely by his guitar.
João Voz e Violão (2000) was an homage to the music of Gilberto's youth as well as a nod to producer Caetano Veloso.
Evenly interspersed with these studio recordings have been the live recordings Live in Montreux; João Gilberto Prado Pereira de Oliveira;
Eu Sei Que Vou Te Amar; Live at Umbria Jazz; and Live in Tokyo.
While all of Gilberto's albums since Getz/Gilberto have been released on CD, the first three domestic albums were released in 1988 by
EMI on a single CD entitled The Legendary João Gilberto: The Original Bossa Nova Recordings (1958–1961). The disc also included three tracks
from the singer's 1959 Orfeu Negro EP: "Manhã de Carnaval," O Nosso Amor, and A Felicidade, the latter two merged into a single medley track
to fit within the recording time of a CD. After its release, Gilberto successfully sued to have the title removed from sale as an unauthorized
release of his artistic works.
João Gilberto has long had a reputation as an artist who values his privacy. He lives in an apartment in Leblon, Rio de Janeiro, refusing
interviews and avoiding crowds. He also has high standards for acoustics and noise control. He has been known to walk out on performances in
response to audiences that interfere with the music by creating inappropriate noise, or out of theaters possessing poor acoustics, and
on several occasions requested that the air conditioning be turned off at concert venues. He continues to perform to sell-out crowds in Brazil
as well as in Europe, North America, and Japan.
He is the father of singer Bebel Gilberto.
detailed information can found here:
http://en.wikipedia.org/wiki/Jo%C3%A3o_Gilberto
Tracklist:
01. The Girl from Ipanema
02. Doralice
03. Para Machuchar Meu Coracao
04. Desafinado (Off Key)
05. Corcovado (Quiet Night of Quiet Stars)
06. So Danco Samba (Jazz Samba)
07. O Grande Amor
08. Vivo Sonhando (Dreamer)
09. The Girl from Upanema - 45 rpm issue
10. Corcovado (Quiet Night of Quiet Stars) - 45 rpm issue
Track samples can be listened here (amazon.com).
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
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Stan Getz & Joao Gilberto / Getz - Gilberto [K2HD]
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4 | 13:15.66 | 4:09.28 | 59691 | 78393
5 | 17:25.19 | 4:18.42 | 78394 | 97785
6 | 21:43.61 | 3:34.55 | 97786 | 113890
7 | 25:18.41 | 5:30.33 | 113891 | 138673
8 | 30:48.74 | 2:54.06 | 138674 | 151729
9 | 33:43.05 | 2:47.15 | 151730 | 164269
10 | 36:30.20 | 2:23.03 | 164270 | 174997
Range status and errors
Selected range
Filename C:\extracts\Stan Getz & Joao Gilberto - Getz, Gilberto [K2-HD]\Stan Getz & Joao Gilberto - Getz - Gilberto [K2HD].wav
Peak level 95.7 %
Range quality 100.0 %
Test CRC CF1BC40B
Copy CRC CF1BC40B
Copy OK
No errors occurred
AccurateRip summary
Track 1 accurately ripped (confidence 15) [884B0C07]
Track 2 accurately ripped (confidence 15) [B8045BCC]
Track 3 accurately ripped (confidence 15) [9656B0E6]
Track 4 accurately ripped (confidence 15) [4AD93A9E]
Track 5 accurately ripped (confidence 15) [435765B9]
Track 6 accurately ripped (confidence 15) [B7C6C302]
Track 7 accurately ripped (confidence 15) [B5A03171]
Track 8 accurately ripped (confidence 15) [5ADF5286]
Track 9 accurately ripped (confidence 15) [EAE751AD]
Track 10 accurately ripped (confidence 15) [C1C5E194]
All tracks accurately ripped
End of status report
EAC extraction logfile from 15. March 2010, 23:21
Stan Getz & Joao Gilberto / Getz - Gilberto [K2HD]
Used drive : ASUS DRW-1608P3S Adapter: 0 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 48
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 5:17.74 | 0 | 23848
2 | 5:17.74 | 2:48.06 | 23849 | 36454
3 | 8:06.05 | 5:09.61 | 36455 | 59690
4 | 13:15.66 | 4:09.28 | 59691 | 78393
5 | 17:25.19 | 4:18.42 | 78394 | 97785
6 | 21:43.61 | 3:34.55 | 97786 | 113890
7 | 25:18.41 | 5:30.33 | 113891 | 138673
8 | 30:48.74 | 2:54.06 | 138674 | 151729
9 | 33:43.05 | 2:47.15 | 151730 | 164269
10 | 36:30.20 | 2:23.03 | 164270 | 174997
Range status and errors
Selected range
Filename C:\extracts\Stan Getz & Joao Gilberto - Getz, Gilberto [K2-HD]\Stan Getz & Joao Gilberto - Getz - Gilberto [K2HD].wav
Peak level 95.7 %
Range quality 100.0 %
Test CRC CF1BC40B
Copy CRC CF1BC40B
Copy OK
No errors occurred
AccurateRip summary
Track 1 accurately ripped (confidence 15) [884B0C07]
Track 2 accurately ripped (confidence 15) [B8045BCC]
Track 3 accurately ripped (confidence 15) [9656B0E6]
Track 4 accurately ripped (confidence 15) [4AD93A9E]
Track 5 accurately ripped (confidence 15) [435765B9]
Track 6 accurately ripped (confidence 15) [B7C6C302]
Track 7 accurately ripped (confidence 15) [B5A03171]
Track 8 accurately ripped (confidence 15) [5ADF5286]
Track 9 accurately ripped (confidence 15) [EAE751AD]
Track 10 accurately ripped (confidence 15) [C1C5E194]
All tracks accurately ripped
End of status report
[Verification date: 15.03.2010 23:30:43]
[Disc ID: 000fdd7a-007d5777-7c091d0a]
Track [ CRC ] Status
01 [884b0c07] (15/15) Accurately ripped
02 [b8045bcc] (15/15) Accurately ripped
03 [9656b0e6] (15/15) Accurately ripped
04 [4ad93a9e] (15/15) Accurately ripped
05 [435765b9] (15/15) Accurately ripped
06 [b7c6c302] (15/15) Accurately ripped
07 [b5a03171] (15/15) Accurately ripped
08 [5adf5286] (15/15) Accurately ripped
09 [eae751ad] (15/15) Accurately ripped
10 [c1c5e194] (15/15) Accurately ripped
Track [ CRC32 ] [W/O NULL]
– [CF1BC40B] [AF5513C5]
01 [E478F8EB] [5B525B23]
02 [C8BB5E27] [9A429F52]
03 [7E42E22F] [7183A83D]
04 [6BFC3815] [045B2EDF]
05 [D4FD5E54] [57041908]
06 [206DAD72] [311031D9]
07 [38F06304] [4EFC91F7]
08 [7BA52321] [BCC4C5E9]
09 [B3FD6B3B] [C839C953]
10 [C3E0018C] [2A5FBFFF]
[Disc ID: 000fdd7a-007d5777-7c091d0a]
Track [ CRC ] Status
01 [884b0c07] (15/15) Accurately ripped
02 [b8045bcc] (15/15) Accurately ripped
03 [9656b0e6] (15/15) Accurately ripped
04 [4ad93a9e] (15/15) Accurately ripped
05 [435765b9] (15/15) Accurately ripped
06 [b7c6c302] (15/15) Accurately ripped
07 [b5a03171] (15/15) Accurately ripped
08 [5adf5286] (15/15) Accurately ripped
09 [eae751ad] (15/15) Accurately ripped
10 [c1c5e194] (15/15) Accurately ripped
Track [ CRC32 ] [W/O NULL]
– [CF1BC40B] [AF5513C5]
01 [E478F8EB] [5B525B23]
02 [C8BB5E27] [9A429F52]
03 [7E42E22F] [7183A83D]
04 [6BFC3815] [045B2EDF]
05 [D4FD5E54] [57041908]
06 [206DAD72] [311031D9]
07 [38F06304] [4EFC91F7]
08 [7BA52321] [BCC4C5E9]
09 [B3FD6B3B] [C839C953]
10 [C3E0018C] [2A5FBFFF]
REM GENRE Jazz
REM DATE 2009
REM DISCID 7C091D0A
REM COMMENT "ExactAudioCopy v0.99pb5"
PERFORMER "Stan Getz & Joao Gilberto"
TITLE "Getz - Gilberto [K2HD]"
FILE "CdImage.flac" WAVE
TRACK 01 AUDIO
TITLE "The Girl from Ipanema"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Doralice"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 05:17:74
TRACK 03 AUDIO
TITLE "Para Machuchar Meu Coracao"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 08:06:05
TRACK 04 AUDIO
TITLE "Desafinado (Off Key)"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 13:15:66
TRACK 05 AUDIO
TITLE "Corcovado (Quiet Night of Quiet Stars)"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 17:25:19
TRACK 06 AUDIO
TITLE "So Danco Samba (Jazz Samba)"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 21:43:61
TRACK 07 AUDIO
TITLE "O Grande Amor"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 25:18:41
TRACK 08 AUDIO
TITLE "Vivo Sonhando (Dreamer)"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 30:48:74
TRACK 09 AUDIO
TITLE "The Girl from Ipanema - 45 rpm issue"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 33:43:05
TRACK 10 AUDIO
TITLE "Corcovado (Quiet Night of Quiet Stars) - 45 rpm issue"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 36:30:20
REM DATE 2009
REM DISCID 7C091D0A
REM COMMENT "ExactAudioCopy v0.99pb5"
PERFORMER "Stan Getz & Joao Gilberto"
TITLE "Getz - Gilberto [K2HD]"
FILE "CdImage.flac" WAVE
TRACK 01 AUDIO
TITLE "The Girl from Ipanema"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Doralice"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 05:17:74
TRACK 03 AUDIO
TITLE "Para Machuchar Meu Coracao"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 08:06:05
TRACK 04 AUDIO
TITLE "Desafinado (Off Key)"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 13:15:66
TRACK 05 AUDIO
TITLE "Corcovado (Quiet Night of Quiet Stars)"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 17:25:19
TRACK 06 AUDIO
TITLE "So Danco Samba (Jazz Samba)"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 21:43:61
TRACK 07 AUDIO
TITLE "O Grande Amor"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 25:18:41
TRACK 08 AUDIO
TITLE "Vivo Sonhando (Dreamer)"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 30:48:74
TRACK 09 AUDIO
TITLE "The Girl from Ipanema - 45 rpm issue"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 33:43:05
TRACK 10 AUDIO
TITLE "Corcovado (Quiet Night of Quiet Stars) - 45 rpm issue"
PERFORMER "Stan Getz & Joao Gilberto"
INDEX 01 36:30:20
G:\@FLAC>flac -v
flac 1.2.1
G:\@FLAC>flac -5 -V -w "getzGilb.WAV"
flac 1.2.1, Copyright (C) 2000,2001,2002,2003,2004,2005,2006,2007 Josh Coalson
flac comes with ABSOLUTELY NO WARRANTY. This is free software, and you are
welcome to redistribute it under certain conditions. Type `flac' for details.
getzGilb.WAV: Verify OK, wrote 209276652 bytes, ratio=0,508
G:\@FLAC>
flac 1.2.1
G:\@FLAC>flac -5 -V -w "getzGilb.WAV"
flac 1.2.1, Copyright (C) 2000,2001,2002,2003,2004,2005,2006,2007 Josh Coalson
flac comes with ABSOLUTELY NO WARRANTY. This is free software, and you are
welcome to redistribute it under certain conditions. Type `flac' for details.
getzGilb.WAV: Verify OK, wrote 209276652 bytes, ratio=0,508
G:\@FLAC>
"]G:\@lame>lame -b320 -h –noReplayGain "getzGilb.wav" "CdImage@320.mp3"
LAME 3.98.3 32bits (http://www.mp3dev.org/)
CPU features: MMX (ASM used), SSE (ASM used), SSE2
Using polyphase lowpass filter, transition band: 20094 Hz - 20627 Hz
Encoding getzgilb.wav to CdImage@320.mp3
Encoding as 44.1 kHz j-stereo MPEG-1 Layer III (4.4x) 320 kbps qval=2
Frame | CPU time/estim | REAL time/estim | play/CPU | ETA
89323/89323 (100%)| 3:20/ 3:20| 3:20/ 3:20| 11.623x| 0:00
–––––––––––––––––––––––––––––––––––––––-
kbps LR MS % long switch short %
320.0 85.4 14.6 94.6 3.2 2.2
Writing LAME Tag…done
G:\@lame>
LAME 3.98.3 32bits (http://www.mp3dev.org/)
CPU features: MMX (ASM used), SSE (ASM used), SSE2
Using polyphase lowpass filter, transition band: 20094 Hz - 20627 Hz
Encoding getzgilb.wav to CdImage@320.mp3
Encoding as 44.1 kHz j-stereo MPEG-1 Layer III (4.4x) 320 kbps qval=2
Frame | CPU time/estim | REAL time/estim | play/CPU | ETA
89323/89323 (100%)| 3:20/ 3:20| 3:20/ 3:20| 11.623x| 0:00
–––––––––––––––––––––––––––––––––––––––-
kbps LR MS % long switch short %
320.0 85.4 14.6 94.6 3.2 2.2
Writing LAME Tag…done
G:\@lame>
"]Using polyphase lowpass filter, transition band: 17249 Hz - 17782 Hz
Encoding getzgilb.wav to CdImage@VBR4.mp3
Encoding as 44.1 kHz j-stereo MPEG-1 Layer III VBR(q=4)
Frame | CPU time/estim | REAL time/estim | play/CPU | ETA
89323/89323 (100%)| 1:38/ 1:38| 1:38/ 1:38| 23.738x| 0:00
32 [ 1] *
40 [ 4] %
48 [ 41] %
56 [ 66] *
64 [ 52] *
80 [ 1260] **
96 [ 8245] %***********
112 [ 2912] %***
128 [14429] %%%%%%**************
160 [49697] %%%%%%%%%%%%%%%%%%%%%%%%%******************************************
192 [ 7263] %%%%%%****
224 [ 3500] %%%%*
256 [ 1152] %%
320 [ 701] %
–––––––––––––––––––––––––––––––––––––––-
kbps LR MS % long switch short %
153.6 34.7 65.3 91.2 4.8 4.0
Writing LAME Tag…done
G:\@lame>
Encoding getzgilb.wav to CdImage@VBR4.mp3
Encoding as 44.1 kHz j-stereo MPEG-1 Layer III VBR(q=4)
Frame | CPU time/estim | REAL time/estim | play/CPU | ETA
89323/89323 (100%)| 1:38/ 1:38| 1:38/ 1:38| 23.738x| 0:00
32 [ 1] *
40 [ 4] %
48 [ 41] %
56 [ 66] *
64 [ 52] *
80 [ 1260] **
96 [ 8245] %***********
112 [ 2912] %***
128 [14429] %%%%%%**************
160 [49697] %%%%%%%%%%%%%%%%%%%%%%%%%******************************************
192 [ 7263] %%%%%%****
224 [ 3500] %%%%*
256 [ 1152] %%
320 [ 701] %
–––––––––––––––––––––––––––––––––––––––-
kbps LR MS % long switch short %
153.6 34.7 65.3 91.2 4.8 4.0
Writing LAME Tag…done
G:\@lame>
Note: If you find "dead-links" in any of my posts; please send me a p.m., with explaining the album artist & album name.
Links Text File (RS)
Password:
348PizzaTowerSnapshot
Links Text File (RS)
Password:
348PizzaTowerSnapshot