Getz/Gilberto, por Getz e Gilberto
0 Comments Published by Ronaldo Evangelista on sexta-feira, 23 de abril de 2010 at 4:08 PM.
Gene Lees, Getz/Gilberto, cê tá ligado que ele escreveu o texto na capa interna do LP, pra não falar da letra em inglês de "Corcovado", né? Mas tá ligado que o encarte tem também textos de próprio punho (ha!) dos próprios Stan e João? Don't let that gentleness fool you. Getz meio reaça, tentando vender a bossa pelo conservadorismo, acertando na espontaneidade e despretensão. Gilberto todo hippie zen comunicativo derretido pelo gringo, por Caymmi, por Ary Barroso recém-partido, pelo amigo Donato.
Paul Hindemith often expressed his disbelief in abstraction in music. Music should concern the making of music, not the speculative transcending of its limits. "The ear," he said, "should remain the first and the last court of appeal."
The songs of João Gilberto and Antonio Carlos Jobim came to American like a breath of fresh air. Their music arrived here ate a time when anemia and confusion were becoming noticeable in our music to anyone who knew enough to be concerned. The desperate craze for innovation had been overextending itself. Jazz literature was becoming increasingly pompous, complex and chauvinistic, theorizing and analyzing itself into a knot. Musical groups were disintegrating into an every-man-for-himself egomania. Soloists and sidemen were engaged in endurance tests os repetitious and/or outlandish endeavours. Sometimes they lost the audience. Worse, they often lost musical contact with one another.
A discerning minority of greats and true jazz aficionados everywhere remained in a state of apprehension concerning this questionable trend. Was it inevitable that jazz would lose its initial charm in the process of growing up? Did approaching maturity herald the eventual loss of the refreshing qualities which kept jazz apart from traditional music?
Then came the music of these Brazilians with an impact much the same as the one caused by the child's classic comment in H.C. Anderssen's Emperor and His New Clothes. If nothing else the music world is indebted to them for exposing "the emperor" in all his nakedness.
Thus the ultimate making of this record was inevitable. We discovered an indestructible bond between us. Sebastiao and Milton as well as João and Ton understood little more english than I did portuguese, but it didn't matter. We had the music, the excitement of playing together, and the feeling of mutual respect for one another.
Unpretentiousness, spontaneity and the poetry os honest emotion belong back in jazz. And don't let that gentleness fool you. These guys know how to swing harder than most, and they do it without pushing.
Had this record never been released, the making of it would have been gratification enough.
--STAN GETZ
Peace is a beautiful feeling.
To understand and be understood is a kind of peace.
I find great peace in real communication with another person. Getz is a person I understand, and who understands me even though we speak different languages. I would say that even if we could not exchange a word, the love that we have for music would be enough to make us friends.
Our talks - generally through our wives - are sometimes amusing. I do my best to speak english, and Stan uses all his knowledge of Latin languages: "Diga ao João..." When Stan gives an opinion I often exclaim, "Exactly what I was going to say!" This happened so often one night that I thought to myself, "I had better disagree once in a while or it will sound silly." The truth is that we agree on most everything.
Some years ago when I was young and searching in my country, I knew about Stan though he didn't know about me. I was introduced to his music through Donato, a pianist friend of mine. Time and again we listened to Getz records with stirred emotions.
Despite our good friendship I never forget that Stan Getz is a great artist. There isn't any American whom I'd rather hear playing the music of my country. Jobim said "It's unbelievable the way Getz assimilates the spirit of the Brazilian music!" My good friend Dorival Caymmi, composer of Doralice, will be amazed at the swing and feeling Getz gives his authentic samba, so typical for Bahia.
Ary Barroso wrote the composition P'ra Machucar Meu Coraçao. Barroso is an outstanding figure in the history of Brazilian music. Ary was ill when we recorded this album. I told Getz how happy I thought it would make Ary feel to hear his composition recorded by us. He will not hear it. Today as I write this, I know that he is dead. Now our version will remain as a humble homage to Ary Barroso from myself and from Getz who came to love him through his music without ever having met him.
Finally just a word about Astrud, my wife. She always liked to sing and we often sing together at home. I like the way she sings The Girl from Ipanema. Getz heard her sing it and asked her to record it with us. This is her first recording date, and I am glad she was among friends.
In many ways, then, this is more than a record. It is friendship communicated by music.
--JOÃO GILBERTO
O primeiro sax-tenor dos Estados Unidos e o grande jovem cantor Brasileiro, no LP mais vibrante do ano
Paul Hindemith often expressed his disbelief in abstraction in music. Music should concern the making of music, not the speculative transcending of its limits. "The ear," he said, "should remain the first and the last court of appeal."
The songs of João Gilberto and Antonio Carlos Jobim came to American like a breath of fresh air. Their music arrived here ate a time when anemia and confusion were becoming noticeable in our music to anyone who knew enough to be concerned. The desperate craze for innovation had been overextending itself. Jazz literature was becoming increasingly pompous, complex and chauvinistic, theorizing and analyzing itself into a knot. Musical groups were disintegrating into an every-man-for-himself egomania. Soloists and sidemen were engaged in endurance tests os repetitious and/or outlandish endeavours. Sometimes they lost the audience. Worse, they often lost musical contact with one another.
A discerning minority of greats and true jazz aficionados everywhere remained in a state of apprehension concerning this questionable trend. Was it inevitable that jazz would lose its initial charm in the process of growing up? Did approaching maturity herald the eventual loss of the refreshing qualities which kept jazz apart from traditional music?
Then came the music of these Brazilians with an impact much the same as the one caused by the child's classic comment in H.C. Anderssen's Emperor and His New Clothes. If nothing else the music world is indebted to them for exposing "the emperor" in all his nakedness.
Thus the ultimate making of this record was inevitable. We discovered an indestructible bond between us. Sebastiao and Milton as well as João and Ton understood little more english than I did portuguese, but it didn't matter. We had the music, the excitement of playing together, and the feeling of mutual respect for one another.
Unpretentiousness, spontaneity and the poetry os honest emotion belong back in jazz. And don't let that gentleness fool you. These guys know how to swing harder than most, and they do it without pushing.
Had this record never been released, the making of it would have been gratification enough.
--STAN GETZ
Peace is a beautiful feeling.
To understand and be understood is a kind of peace.
I find great peace in real communication with another person. Getz is a person I understand, and who understands me even though we speak different languages. I would say that even if we could not exchange a word, the love that we have for music would be enough to make us friends.
Our talks - generally through our wives - are sometimes amusing. I do my best to speak english, and Stan uses all his knowledge of Latin languages: "Diga ao João..." When Stan gives an opinion I often exclaim, "Exactly what I was going to say!" This happened so often one night that I thought to myself, "I had better disagree once in a while or it will sound silly." The truth is that we agree on most everything.
Some years ago when I was young and searching in my country, I knew about Stan though he didn't know about me. I was introduced to his music through Donato, a pianist friend of mine. Time and again we listened to Getz records with stirred emotions.
Despite our good friendship I never forget that Stan Getz is a great artist. There isn't any American whom I'd rather hear playing the music of my country. Jobim said "It's unbelievable the way Getz assimilates the spirit of the Brazilian music!" My good friend Dorival Caymmi, composer of Doralice, will be amazed at the swing and feeling Getz gives his authentic samba, so typical for Bahia.
Ary Barroso wrote the composition P'ra Machucar Meu Coraçao. Barroso is an outstanding figure in the history of Brazilian music. Ary was ill when we recorded this album. I told Getz how happy I thought it would make Ary feel to hear his composition recorded by us. He will not hear it. Today as I write this, I know that he is dead. Now our version will remain as a humble homage to Ary Barroso from myself and from Getz who came to love him through his music without ever having met him.
Finally just a word about Astrud, my wife. She always liked to sing and we often sing together at home. I like the way she sings The Girl from Ipanema. Getz heard her sing it and asked her to record it with us. This is her first recording date, and I am glad she was among friends.
In many ways, then, this is more than a record. It is friendship communicated by music.
--JOÃO GILBERTO
O primeiro sax-tenor dos Estados Unidos e o grande jovem cantor Brasileiro, no LP mais vibrante do ano
Marcadores: Antonio Carlos Jobim, Ary Barroso, capismo, Contracapa, Dorival Caymmi, João Donato, João Gilberto, Stan Getz, Verve
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