I’m here all alone at Ground Zero of Corporate Hell for the first time this year. While being at the office alone is boring as all get out, at least I can listen to my tunes on my laptop with the volume turned up and no one will bitch so, yeah, that’s what I’m going to – besides dropping a deuce in the women’s bathroom with the door open because, well, just because I can I guess.
Anyway, this morning’s open-door deuce-dropping listening pleasure is also a renown Jazz Boner standard, the ‘Getz/Gilberto‘ album by Stan Getz and João Gilberto.
One of the biggest-selling jazz albums of all time, not to mention bossa nova’s finest moment, ‘Getz/Gilberto‘ (1964) trumped Jazz Samba by bringing two of bossa nova’s greatest innovators – guitarist/singer João Gilberto and composer/pianist Antonio Carlos Jobim – to New York to record with Stan Getz.
The results were obviously magic.
Ever since Jazz Samba, the jazz marketplace had been flooded with bossa nova albums, and the overexposure was beginning to make the music seem like a fad. ‘Getz/Gilberto‘ made bossa nova a permanent part of the jazz landscape not just with its unassailable beauty, but with one of the biggest smash hit singles in jazz history – ‘The Girl From Ipanema‘, a Jobim classic sung by João’s wife, Astrud Gilberto, who had never performed outside of her own home prior to the recording session. Beyond that, most of the Jobim songs recorded here also became standards of the genre – ‘Corcovado‘ (which featured another vocal by Astrud), ‘So Danço Samba‘, ‘O Grande Amor‘, and a new version of ‘Desafinado‘.
With such uniformly brilliant material, it’s no wonder the album was such a success but, even apart from that, the musicians all play with an effortless grace that’s arguably the fullest expression of bossa nova’s dreamy romanticism ever brought to American listeners. Getz himself has never been more lyrical, and Gilberto and Jobim pull off the harmonic and rhythmic sophistication of the songs with a warm, relaxed charm. This music has nearly universal appeal; it’s one of those rare jazz records about which the purist elite and the buying public are in total agreement. Beyond essential and is certainly something I will be striving to add to the vinyl collection at home eventually.
My morning poop will never likely be quite this awesome again.