Review by John Bush
Astrud Gilberto became an accidental success when her fragile command of English made her the de facto choice to sing "The Girl from Ipanema" at a session led by Stan Getz and her husband, João Gilberto. Of course, despite its overwhelming success, it wasn't clear that she could sustain a career when she recorded her first solo LP, The Astrud Gilberto Album. She had sounded more like an amateurish novelty act than a recording professional, her voice was sweet but fragile, and the Getz/Gilberto album had featured two strong voices, with Gilberto herself an afterthought (albeit a commercially effective afterthought). But The Astrud Gilberto Album was at least as good as Getz/Gilberto (despite what jazz fans say), for several reasons. The Brazilian repertoire plays particularly well to traditionally weak vocalists, her voice was yet more sweet than had been heard previously, and as before, the record featured two strong leaders -- arranger Marty Paich and the incomparable Antonio Carlos Jobim. Paich's strings positively coated the album with radiance, and his choices for lead instrumental voices -- Bud Shank's flute, João Donato's piano, Jobim's guitar -- complemented her vocals perfectly. Gilberto sounded beautiful on a range of material, from the sentimental "Dindi" to the playful "Agua de Beber," and as long as intelligent musicians were playing to her strengths (as they do here), the results were splendid.
Astrud Gilberto became an accidental success when her fragile command of English made her the de facto choice to sing "The Girl from Ipanema" at a session led by Stan Getz and her husband, João Gilberto. Of course, despite its overwhelming success, it wasn't clear that she could sustain a career when she recorded her first solo LP, The Astrud Gilberto Album. She had sounded more like an amateurish novelty act than a recording professional, her voice was sweet but fragile, and the Getz/Gilberto album had featured two strong voices, with Gilberto herself an afterthought (albeit a commercially effective afterthought). But The Astrud Gilberto Album was at least as good as Getz/Gilberto (despite what jazz fans say), for several reasons. The Brazilian repertoire plays particularly well to traditionally weak vocalists, her voice was yet more sweet than had been heard previously, and as before, the record featured two strong leaders -- arranger Marty Paich and the incomparable Antonio Carlos Jobim. Paich's strings positively coated the album with radiance, and his choices for lead instrumental voices -- Bud Shank's flute, João Donato's piano, Jobim's guitar -- complemented her vocals perfectly. Gilberto sounded beautiful on a range of material, from the sentimental "Dindi" to the playful "Agua de Beber," and as long as intelligent musicians were playing to her strengths (as they do here), the results were splendid.
///////
Reseña de John Bush
Astrud Gilberto se convirtió en un éxito accidental cuando su frágil dominio del inglés la convirtió en la elección de facto para cantar "The Girl from Ipanema" en una sesión dirigida por Stan Getz y su marido, João Gilberto. Por supuesto, a pesar de su abrumador éxito, no estaba claro que pudiera mantener una carrera cuando grabó su primer LP en solitario, The Astrud Gilberto Album. Había sonado más como un acto de novedad amateur que como una profesional de la grabación, su voz era dulce pero frágil, y el álbum Getz/Gilberto había presentado dos voces fuertes, con Gilberto en sí mismo una idea de último momento (aunque una idea de último momento comercialmente efectiva). Pero The Astrud Gilberto Album era al menos tan bueno como Getz/Gilberto (a pesar de lo que digan los aficionados al jazz), por varias razones. El repertorio brasileño se adapta especialmente bien a los vocalistas tradicionalmente débiles, su voz era aún más dulce de lo que se había escuchado anteriormente y, como antes, el disco contaba con dos fuertes líderes: el arreglista Marty Paich y el incomparable Antonio Carlos Jobim. Las cuerdas de Paich cubrieron positivamente el álbum con resplandor, y sus elecciones para las voces instrumentales principales -- la flauta de Bud Shank, el piano de João Donato, la guitarra de Jobim -- complementaron su voz perfectamente. Gilberto sonó muy bien en toda la gama de material, desde la sentimental "Dindi" hasta la juguetona "Agua de Beber", y siempre que los músicos inteligentes se adaptaran a sus puntos fuertes (como hacen aquí), los resultados fueron espléndidos.
Astrud Gilberto se convirtió en un éxito accidental cuando su frágil dominio del inglés la convirtió en la elección de facto para cantar "The Girl from Ipanema" en una sesión dirigida por Stan Getz y su marido, João Gilberto. Por supuesto, a pesar de su abrumador éxito, no estaba claro que pudiera mantener una carrera cuando grabó su primer LP en solitario, The Astrud Gilberto Album. Había sonado más como un acto de novedad amateur que como una profesional de la grabación, su voz era dulce pero frágil, y el álbum Getz/Gilberto había presentado dos voces fuertes, con Gilberto en sí mismo una idea de último momento (aunque una idea de último momento comercialmente efectiva). Pero The Astrud Gilberto Album era al menos tan bueno como Getz/Gilberto (a pesar de lo que digan los aficionados al jazz), por varias razones. El repertorio brasileño se adapta especialmente bien a los vocalistas tradicionalmente débiles, su voz era aún más dulce de lo que se había escuchado anteriormente y, como antes, el disco contaba con dos fuertes líderes: el arreglista Marty Paich y el incomparable Antonio Carlos Jobim. Las cuerdas de Paich cubrieron positivamente el álbum con resplandor, y sus elecciones para las voces instrumentales principales -- la flauta de Bud Shank, el piano de João Donato, la guitarra de Jobim -- complementaron su voz perfectamente. Gilberto sonó muy bien en toda la gama de material, desde la sentimental "Dindi" hasta la juguetona "Agua de Beber", y siempre que los músicos inteligentes se adaptaran a sus puntos fuertes (como hacen aquí), los resultados fueron espléndidos.
Tracklist
A1 Once I Loved 2:10
A2 Agua De Beber 2:16
A3 Meditation 2:39
A4 And Roses And Roses 2:30
A5 O Morro (Nao Tem Vez) 2:55
A6 How Insensitive 2:45
B1 Dindi 2:40
B2 Photograph 2:10
B3 Dreamer 2:00
B4 So Finha De Ser Com Voce 2:15
B5 All That's Left Is To Say Goodbye 3:09
Credits
Arranged By, Conductor – Marty Paich
Bass – Joe Mondragon
Ensemble – Guildhall String Ensemble
Flute, Alto Saxophone – Bud Shank
Guitar – Antonio Carlos Jobim
Piano – João Donato
Trombone – Milt Bernhart
Trumpet – Stu Williamson
Vocals – Astrud Gilberto
Recorded at RCA Studios, Hollywood, California, January 27 & 28, 1965.
Engineer – Dave Hassinger
Engineer [Director Of Engineering] – Val Valentin
Mastered By – Rudy Van Gelder
Label: Verve Records – V-8608
Released: 1965
Genre: Jazz, Latin
Style: Bossa Nova, Easy Listening
MORE Astrud Gilberto ...
This file is intended only for preview!
I ask you to delete the file from your hard drive after reading it.
thank for the original uploader
Hi!
ReplyDeleteThanx for this one. Already had it but your file is larger = better bitrate?
Cheers!
Ciao! For now.
rntcj
may be.
Deleteenjoy!
;)
Muchas gracias por compartir, saludos.
ReplyDeleteSaludos!
Delete