Stan Getz Music

I have been searching for this album for 5 years. 5 years ago, I was on Semester at Sea and was spending one of the many long nights at sea (between ports) exchanging music with friends. My friend from Japan gave me several of her favorite Bossa Nova cds, most of them compilations. Of course we didnt have any internet so all the albums that i ripped to my pc said " various artists, track 1 ect.." Well one compilation which is one of my favorites to this day contatined my favorite that I now know is from this album "Saudade Vem Correndo" Wow Maria Toledo's vocals are so... indescribably saudade.

If anyone knows where I can find more Maria Toledo please let me know. For others who want to hear the other songs on the mystery compilation from Japan go here:
http://www.imeem.com/illnessjohanson/playlist/O6ceuTE3/frequent_flyer_palm_tree_lounging_music_playlist/

You will know them because I made up my own song titles and there is no Artist name. If you want to go above and beyond and know Who and What the Songs are, please share! All i know is that the sax is very very Stan Getz, but the legend has made so many songs, its so hard for me to find them.

A fella from Madrid (I'm above 13 years):
I think Sgt. Peppers; Ziggy Stardust, ............and Jazz Samba Encore! are a must have. Luiz Bonfa's solos takes your heart and Getz fills all the amazing space. Smoke something, fix yourself a drink and
enjoy the Magical Mystery Tour.

This is just what the title implies. ENCORE. Great Jazz Samba music for listening.

Jazz Samba Encore was the third album in a series of four releases of bossa nova music on the Verve label, all of them featuring Stan Getz playing the songs of Antonio Carlos Jobim and Luiz Bonfa. This album is mainly a collaboration between Getz and Bonfa, and although the latter composer dominates proceedings, three of Jobim's songs are included, as well as his accompaniment on both guitar and piano on some of the tracks.

Not only is Bonfa a great songwriter, he is also an accomplished guitarist as he demonstrates on so many of the tracks here. His playing has a crisp and at times urgent feel on the faster numbers. Surprisingly, his most famous composition, Manha De Carnival was not included on the album. Also, Jobim's song Corcovado was present on the original LP as an instrumental, but is omitted from the CD. Instead we get a double take of Ebony Samba, one of the highlights of the album, so all is not lost.

As for the music, as one would expect it is just wonderful. It is rather different in feel and presentation to its purely instrumental predecessor, Jazz Samba, with JSE generally having a lighter and more joyous tone overall, but no less captivating. There is also the presence of Brazilian vocalist Maria Toledo. She tends to use her voice more as an instrument rather than the singing of lyrics. And with a slight echo added this gives an unusual haunting quality to some of these tracks. However, she does get to sing at least a full verse on one or 2 tracks, and one such example is Insensatez, one of the few melancholic songs included. The way this is performed is simply sublime, and worth the money of the CD alone. The great Stan Getz, of course is in excellent form as he was on Jazz Samba, and his sense of timing and use of phrasing is as immaculate as ever.

Although there were no huge hits from this album, unlike the case with Jazz Samba (Desifinado) and Getz/Gilberto (Girl From Ipenema), that does not render Jazz Samba Encore any less substantial as a musical project. If you liked the other two albums mentioned, you should certainly enjoy this one.

This'll probably be one of my shorter reviews mainly because I love this album, and there's little more that I can add to that. This is Jazz Samba Encore, this time featuring Stan Getz and Luiz Bonfa (Orfeu Negro, Luiz Bonfa Sings & Plays, etc.). Also featured here is Maria Toledo, Luiz Bonfa's then wife (I'm not sure if they are still married).

This is an amazing album, and a must have. The music is wonderful... very gentle, extremely clear, and very sincere. Featured here is a haunting version of "Sambalero" to open up the gentle adventure followed by 10 more incredible tracks. Gentle sax, perfect marriage between his tone and Luiz Bonfa's guitar. The music evokes an image, and the timing and musicianship grabs me every time I listen to this. While I loved every song on this, there were others that are absolute staples to me: "Insensatez", "Samba De Duas Notas", "Menina Flor", "Um Abraco No Getz", and "Ebony Samba".

If you are a bossa nova fan, you will certainly want to get this if you don't already own it. It's stunning. And if you do like this, you also want to check out "Getz/Gilberto", "Jazz Samba", "Getz/Almeida" to name but a few. You may also like music by Bud Shank with Laurindo Almeida.

The songs done by the "Name" artists on this CD didn't impress me. But, there are 11 tracks by mostly "No Names" that I burned onto a seperate CD years ago that I still enjoy on a regular basis. These artists were jazz musicians from the '50's and '60's that clearly played just for the love of making music. While their talent isn't honed like the big names, it's real, lively and visceral jazz making that still comes across loud and clear decades later. Depending on your taste, you may like some of the harsh blues tunes of certain artists but they weren't for me. If you would like to have a window into the jazz of the small clubs of yesteryear you will find a good sampling here.

Recognized as one of the country's great jazz singers, Helen Merrill is also one of the least known, except to aficionados. In this remarkable album from 1989, Merrill, then almost sixty years old, teams up with Stan Getz to record a stunning exhibition of improvisational jazz. Her mature voice is rich and powerful, but she retains a sweetness that allows her to be whispery, melancholy, pensive, or sexy without sounding "thin" or fragile. The timbre of Getz's sax blends perfectly with her alto to create a double-barreled melodic line, and their individual talents at improvisation lead to interpretations of immense creativity. The album is Merrill's, however, with Getz supporting but not overpowering her, remembering always that he is the talented guest on the album.

The songs encompass many moods. "Cavatina," written by Cleo Laine, is soft, slow, and wonderfully romantic, and Getz's variations build on the romance. "It Never Entered My Mind" shows Merrill's control, as she almost whispers the lyrics, creating a pensive, moody ballad with fresh sounds and interpretations. By contrast, "Just Friends" is upbeat and quick, and "It Don't Mean a Thing," an Ellington song, is wild and swingy, with a terrific piano solo (Joachim Kuhn) to continue the melodic variations introduced by Getz. "Baby, Ain't I Good to You" gets the slow, sexy treatment, while Jacques Brel's "If You Go Away," so often a song of agony and passion, is introduced by Getz's solo sax and becomes quiet and melancholy here, moodier and less threatening than most other interpretations.

The climax is "Yesterdays," a song so filled with improvisation that it is sometimes difficult to recognize the original melody. Merrill stays in the background here as Getz and bassist Jean-Francois Jenny-Clark go to town creating a fresh sound for this standard. Impeccable in its musical presentation and very dramatic in its originality, this album sets the standard for collaboration between two jazz stars who obviously respect each other and their medium--and it may be Merrill's best album. Mary Whipple

This CD is wonderful. Merrill and Getz compliment each other lyrically and stylistically. Being a Getz fan over the years, I found the connection with Merrill and her voice and style a great treat. Too bad there aren't more collaborations between these two.

Recognized as one of the country's great jazz singers, Helen Merrill is also one of the least known, except to aficionados. In this remarkable album from 1989, Merrill, then almost sixty years old, teams up with Stan Getz to record a stunning exhibition of improvisational jazz. Her mature voice is rich and powerful, but she retains a sweetness that allows her to be whispery, melancholy, pensive, or sexy without sounding "thin" or fragile. The timbre of Getz's sax blends perfectly with her alto to create a double-barreled melodic line, and their individual talents at improvisation lead to interpretations of immense creativity. The album is Merrill's, however, with Getz supporting but not overpowering her, remembering always that he is the talented guest on the album.

The songs encompass many moods. "Cavatina," written by Cleo Laine, is soft, slow, and wonderfully romantic, and Getz's variations build on the romance. "It Never Entered My Mind" shows Merrill's control, as she almost whispers the lyrics, creating a pensive, moody ballad with fresh sounds and interpretations. By contrast, "Just Friends" is upbeat and quick, and "It Don't Mean a Thing," an Ellington song, is wild and swingy, with a terrific piano solo (Joachim Kuhn) to continue the melodic variations introduced by Getz. "Baby, Ain't I Good to You" gets the slow, sexy treatment, while Jacques Brel's "If You Go Away," so often a song of agony and passion, is introduced by Getz's solo sax and becomes quiet and melancholy here, moodier and less threatening than most other interpretations.

The climax is "Yesterdays," a song so filled with improvisation that it is sometimes difficult to recognize the original melody. Merrill stays in the background here as Getz and bassist Jean-Francois Jenny-Clark go to town creating a fresh sound for this standard. Impeccable in its musical presentation and very dramatic in its originality, this album sets the standard for collaboration between two jazz stars who obviously respect each other and their medium--and it may be Merrill's best album. Mary Whipple

This CD is wonderful. Merrill and Getz compliment each other lyrically and stylistically. Being a Getz fan over the years, I found the connection with Merrill and her voice and style a great treat. Too bad there aren't more collaborations between these two.