{"id":3578,"date":"2016-02-16T16:44:34","date_gmt":"2016-02-17T00:44:34","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=3578"},"modified":"2016-03-08T09:56:08","modified_gmt":"2016-03-08T17:56:08","slug":"new-old-bossa-nova-from-joao-gilberto-and-stan-getz","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/new-old-bossa-nova-from-joao-gilberto-and-stan-getz\/","title":{"rendered":"New Old Bossa Nova from Jo\u00e3o Gilberto and Stan Getz"},"content":{"rendered":"

by Blair Jackson<\/p>\n

Jo\u00e3o Gilberto<\/a> is not, strictly speaking, a classical guitarist. But it is safe to say that few modern nylon-string players have had as significant an impact on the instrument as Gilberto has, and his influence definitely crosses over into the classical-guitar world, where samba and bossa nova pieces by Antonio Carlos Jobim<\/a> and others can often be found in programs sitting next to Bach, Barrios, and Alb\u00e9niz.<\/p>\n

Gilberto is still best-known for his 1964 collaboration with tenor sax giant Stan Getz<\/a> on an album called Getz\/Gilberto<\/em> <\/a>which included the international #1 hit \u201cThe Girl From Ipanema,\u201d featuring \u00a0Gilberto\u2019s wife, Astrud, on vocals, as well as Jobim\u2014author of the music\u2014on piano, plus a bassist and drummer. Though that song and album created a major sensation, including a bossa nova craze in the United States, Gilberto and Jobim had pioneered the\u00a0 genre back in the mid- to late \u201950s, and in 1962 Getz and guitarist Charlie Byrd had put out the landmark Grammy-winning Jazz Samba<\/a><\/em> album, which included a pair of Jobim tunes. Instrumentally, Gilberto\u2019s guitar-playing was at the heart of this new offshoot of the samba; his highly rhythmic chordal playing was far from flashy, yet it was not an easy style to master; it had a deceptive complexity, despite the apparent nonchalance of the guitarist’s subtle but sonorous vocal approach.<\/p>\n

\"Joao<\/p>\n

Joao Gilberto and Stan Getz in San Francisco. Photo by Tom Copi<\/em><\/p>\n

The exciting news for fans of that classic album, and of bossa nova and samba in general, is that Resonance Records recently released a CD called Getz\/Gilberto \u201976<\/a><\/em>, culled from live performances at San Francisco\u2019s famous (but now defunct) North Beach jazz mecca, the Keystone Korner club. Rounding out the quintet are the other players in Getz\u2019 quartet from that era: Joanne Brackeen on piano, Clint Houston on bass, and Billy Hart on drums. The material draws on number of different writers, including three by Jobim, (one each from\u00a0 the \u201950s, \u201960s, and \u201970s), three 1940s tunes popularized by the Brazilian singer Dorival Caymmi, a couple by Gilberto, and three others. Gilberto\u2019s instrumental \u201cJo\u00e3o Marcelo\u201d is best showcase for his guitar playing, but fans of jazz and bossa nova will find plenty to like on this warm and inviting album.<\/p>\n

\"GG<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

by Blair Jackson Jo\u00e3o Gilberto is not, strictly speaking, a classical guitarist. But it is safe to say that few modern nylon-string players have had as significant an impact on the instrument as Gilberto has, and his influence definitely crosses over into the classical-guitar world, where samba and bossa nova pieces by Antonio Carlos Jobim and others can often be found in programs sitting next to Bach, Barrios, and Alb\u00e9niz. Gilberto is still best-known for his 1964 collaboration with tenor […]<\/p>\n","protected":false},"author":11,"featured_media":3587,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6],"tags":[],"class_list":["post-3578","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/02\/GG-group.jpg?fit=1200%2C719&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/3578","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=3578"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/3578\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/3587"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=3578"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=3578"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=3578"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}