The Diva Series

Performer: Astrud Gilberto
Artist: Stan Getz; Antonio Carlos Jobim
Distributor: Universal Distribution

Notes: Personnel includes: Astrud Gilberto (vocals); Antonio Carlos Jobim (vocals, guitar); Stan Getz (tenor saxophone); Johnny Coles (trumpet); Kai Winding (trombone); Walter Wanderley (piano, organ); Joao Donato (piano); Joe Mondragon (bass); Milton Banana (drums). Producers: Brooks Authur, Creed Taylor. Compilation producer: Bryan Koniarz. Recorded between 1964 & 1969. Includes liner notes by Will Friedwald. This is part of Verve's Diva Series. Personnel: Antonio Carlos Jobim (vocals, guitar, piano); Joao Gilberto (vocals, guitar); Linda November, David Omar White, Maretha Stewart, Brooks Arthur (vocals); Toots Thielemans (whistling, guitar, harmonica); Sal DiTroia, Kenny Burrell, Marcos Valle, Barry Galbraith (guitar); Dom Um Romao (berimbau, percussion); Margaret Ross (harp); Leo Kruczek, George Ockner, Joseph Haber, Arnold Eidus, Louis Stone, Paul Winter Consort, Harry Katzman, Gene Orloff, Harry Lookofsky (violin); Dave Schwartz, Dave Mankovitz, Archie Levin, Seymour Berman, Richard Dickler, Harold Coletta (viola); Maurice Bialkin, Harry Wimmer, Maurice Brown , Seymour Barab, Charles McCracken, Harvey Shapiro, Alan Shulman, George Ricci (cello); Seldon Powell (flute, saxophone); Hubert Laws, Bud Shank (flute); Bill Hammond, Phil Bodner, Stan Webb (woodwinds); Joseph Firrantello, Leon S. Cohen (saxophone); Stan Getz (tenor saxophone); Marvin Stamm (trumpet, flugelhorn); Ernie Royal, Johnny Coles, Stu Williamson , Bernie Glow, Jimmy Nottingham (trumpet); Joe Shepley, Burt Collins (flugelhorn); Tony Miranda, James Buffington, Earl Chapin, Ray Alonge (French horn); Mickey Gravine, Kai Winding, Urbie Green, Warren Covington, Wayne Andre (trombone); Tony Studd (bass trombone); Bob Brookmeyer (valve trombone); John Barber (tuba); Benny Aronov (piano, harpsichord, keyboards); Walter Wanderley (piano, organ); Gil Evans, Joao Donato, Warren Bernhardt (piano); Stan Free, Paul Griffin , Frank Owens (keyboards); Gary Burton , George Devens (vibraphone); Bobby Rosengarden (drums, percussion); Claudio Slon, Frankie Callen, Bill Lavorgna, Al Rogers, Grady Tate, Gene Maharrey, H�lcio Milito, Milton Banana, Ron Dante (drums); Jack Jennings, Robert Gregg, Alan Douglas, Airto Moreira (percussion). Liner Note Author: Will Friedwald. Recording information: A&R Studios, New York, NY (03/18/1963-12/17/1969); Carnegie Hall, New York, NY (03/18/1963-12/17/1969); Century Sound Recording Studios, New York, NY (03/18/1963-12/17/1969); Los Angeles, CA (03/18/1963-12/17/1969); New York, NY (03/18/1963-12/17/1969); RCA Studios, Hollywood, CA (03/18/1963-12/17/1969). Illustrator: Gary Kelley. Photographer: Chuck Stewart. Arrangers: Deodato; Don Sebesky; Albert Gorgoni Orchestra; Gil Evans; Marty Paich. Astrud Gilberto, the Brazilian canary with the voice like honey and diction that defied belief, has been compiled many times on Verve, but rarely as well as on her entry in 2003's The Diva Series. A 21-track of her prime decade, the '60s, this one includes all of the classics associated with her: "The Girl From Ipanema," "Agua de Beber," "Corcovado (Quiet Nights of Quiet Stars)," "So Nice (Summer Samba)," and "Dindi." Not all of her LPs have been reissued on CD (in the States), so the compilers also added tracks that may surprise a few Gilberto fans, like "Eu e Voce" and "Canto de Ossanha (Let Go)." ~ John Bush

Brazilian vocalist Astrud Gilberto was a key figure in the bossa nova movement that moved beyond Brazil to sweep the world in the early-to-mid 1960s. As a featured vocalist on the landmark 1963 GETZ/GILBERTO release by American jazz saxophonist Stan Getz and Astrud's then-husband, guitarist/singer Joao Gilberto, the young lady from Bahia took the music world by storm, especially on the huge hit "Girl From Ipanema," destined to become a standard. Influenced as much by American "cool jazz" as by the Brazilian composers like Antonio Carlos Jobim whose work she interpreted, Gilberto had a sultry, low-key style that stood out amid the overblown pop productions of the era, and her blend of pop, jazz, and Brazilian sounds helped sow the first seeds of what we now know as "world music."

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