Getz/Gilberto

Originally released in March 1964, this collaboration between saxophonist Stan Getz and guitarist João Gilberto came at seemingly the end of the bossa nova craze Getz himself had sparked in 1962 with Jazz Samba, his release with American guitarist Charlie Byrd. Jazz Samba remains the only jazz album to reach number one in the pop charts. In fact, the story goes that Getz had to push for the release of Getz/Gilberto since the company did not want to compete with its own hit; it was a good thing he did. Getz/Gilberto, which featured composer Antonio Carlos Jobim on piano, not only yielded the hit "Girl from Ipanema" (sung by Astrud Gilberto, the guitarist's wife, who had no professional experience) but also "Corcovado" ("Quiet Night")--an instant standard, and the definitive version of "Desafinado." Getz/Gilberto spent 96 weeks in the charts and won four Grammys. It remains one of those rare cases in popular music where commercial success matches artistic merit. Bossa nova's "cool" aesthetic--with its understated rhythms, rich harmonies, and slightly detached delivery--had been influenced, in part, by cool jazz. Gilberto in particular was a Stan Getz fan. Getz, with his lyricism, the bittersweet longing in his sound, and his restrained but strong swing, was the perfect fit. His lines, at once decisive and evanescent, focus the rest of the group's performance without overpowering. A classic. --Fernando Gonzalez
Customer Review: Wonderful Music!
Wonderful and relaxing music. Very soft, wonderful sound tracks. There are two soundtracks of "The Girl From Ipanema," with the first being the ultimate recording. I would highly recommend this CD for anyone who enjoys cool jazz or any relaxing International-style music.
Customer Review: A Serendipitous Masterpiece
In history, seemingly all great things are happenstance. One could certainly say the same about this serendipitous recording. A quiet, gentle, beautiful record of 8 songs (and 2 reprises) it created a time capsule of that era that surprisingly stands up to todays standards. A great album to relax to, put it on when you need to seriously unwind without drugs or alcohol. It works amazingly well.

I once had a teacher who described it as "technically dishonest" to use or feel the music in any way in order to perform a step better.

You mean we should have been able to train with someone just hitting a pencil on a pot lid to keep us working together? Or have a metronome clicking in the studio?

This same teacher made sure that her pianist played a battement tendu type of music for jumps - a little plonky, a little pedestrian (though there were pianists who, luckily, could not play without feeling). It seemed that inspiration was a way to cheat.

There are dancers who will catch your eye in class, even when they are not the best technical student, and are not among the most physically gifted ones. Their musicality is more than being on the music. Some people describe it as being "in" the music, or inside the music.

In performance, there is an element of phrasing. A soloist or principal dancer can adapt the timing of virtuoso sections in the ballet, to their individual technical highlights or qualities. Some dancers will work this out in rehearsal, and do it exactly the same every time.

And yet, in the less definable area of timing, there is poetry, there is a quality that isn't just good phrasing, that reaches a soulful level. The dancer, the music, the drama, the audience, are all in the same stream.

Such a quality does not require narrative drama to be visible, or tangible. It can occur in abstract choreography as well. It is not just that an experienced performer can "let go". Musicality can be apparent during ballet class when a performer or student is working hard.

Sometimes musicality can be invoked in students as they train. Movement imagery and mental tricks work. For example, giving an allegro exercise in a waltz, and saying "just stay in the air for two/three and land on 1" will bring out a better height and quality of jump. It will not be exactly staying in the air for two beats and landing on the first beat, but it will cause a dance student to reach for that timing and their work gains a quality.

Hearing the "and" between the beats of music is a technical necessity for petit allegro, for battus. But when there are several "ands" in between the beats - where do you choose to put the movement emphasis?

Musicality makes it easier. Of course practice makes it easier, but musicality makes it delicious for those watching, because some can feel what their eyes see and their ears hear, even without drama or emotion.

If you love watching ballet, you know what I mean. If you are extremely musical you may not know what I mean or why I would write about musicality in ballet class. You would ask "doesn't everyone do it like that?"

Dianne M. Buxton trained at The National Ballet School of Canada, The Martha Graham School of Contemporary Dance and Toronto Dance Theater. Click here for free articles on how to get exactly the right fit in ballet shoes and pointe shoes, The Perfect Pointe Book, The Ballet Bible, details about ballet technique, dance books, and full body workouts.

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