Stan Getz : Big Band Bossa Nova

Stan Getz : Big Band Bossa Nova


Stan Getz (tenor sax) with big band directed by Gary McFarland

Verve 8494

Speakers Corner Records : LP 180 gram

Brand New and Sealed Record

Discontinued : last copy available!...

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A1 - Manha de Carnival (Morning of the Carnival)
A2 - Balan├žo no Samba (Street Dance)
A3 - Melanc├│lico (Melancholy)
A4 - Entre Amigos (Sympathy Between Friends)
B1 - Chega de Saudade (No More Blues)
B2 - Noite Triste (Night Sadness)
B3 - Samba de Uma Nota So (One Note Samba)
B4 - Bim Bom

Recorded on August 27-28, 1962, at Columbia 30th Street Studio in New York City.

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. McFarland usually keeps things nice and spare (although "One Note Samba" is uncharacteristically cluttered and a bit too discordant for the material), letting his pungent voicings stab the air now and then, while allowing the soloists all the room they want within the confines of producer Creed Taylor's tight timings. Four of the eight songs are by McFarland (none of which would become standards), and Getz makes relaxed impressions with "Manha de Carnival" and "Chega de Saudade." Jim Hall takes the role of acoustic guitarist from Charlie Byrd with his usual fluidity, and Hank Jones ruminates in a boppish way on piano. This album also charted quite respectably (number 13) in the first flush of the bossa nova boom. 

Noted jazz critic Don DeMichael, writing in the December 6, 1962 issue of Down Beat magazine, awarded the album the top rating of five stars. DeMichael went on to say: "Getz' melodic gift was never more evident; even the way he plays "straight" melody is masterful. Few jazzmen have had this gift... and it has to do with singing by means of an instrument, for Getz doesn't just play a solo, he sings it, as can be heard on any of these tracks, most evidently on Triste and Saudade.
About the writing DeMichael says: "McFarland shares in the artistic success of the album. His writing is peerless... he knows the proper combination of instruments to achieve certain sounds and he has the taste not to use all the instruments at hand all the time. His sparing use of the ensemble allows the beauty of the soloist and the material to shine through".

The "golden age" of recordings was from 1955 to 1965, at the beginning of the LP and the stereo era, where pure vacuum tube amplification helped produce recordings demonstrating unparalleled fidelity and warmth, lifelike presence and illumination.

This Speakers Corner LP was remastered using pure analogue components only, from the original analogue studio tapes through to the cutting head, and was pressed with virgin vinyl at Pallas. More information under