Jazz

Astrud Gilberto & The Walter Wanderley Trio – A Certain Smile, a Certain Sadness (1966)

2009-10-15T18:42:03Z

Astrud Gilberto & The Walter Wanderley Trio – A Certain Smile, a Certain Sadness (1966)


01 - A Certain Smile (Fain / Paul Francis Webster)
02 - A Certain Sadness (Carlos Lyra / John Court)
03 - Nega do Cabelo Duro (David Nasser / Rubens Soares)
04 - So Nice (Summer Samba) (Marcos Valle / Paulo Sergio Valle / Vrs. Norman Gimbel)
05 - Você Já Foi a Bahia (Dorival Caymmi)
06 - Portuguese Washerwoman (Lucchesi / Popp)
07 - Tristeza (Goodbye Sadness) (Haroldo Lobo / Niltinho Tristeza / Vrs. Norman Gimbel)
08 - Call Me (Hatch)
09 - Here's That Rainy Day (Babcock / Burke / Van Heusen)
10 - Tu Mi Delirio (C. Portillo de La Luz)
11 - It's a Lovely Day Today (Irving Berlin)
12 – The Sadness Of After (bonus)
13 – Who Needs Forever )bonus)

Musicians:
Astrud Gilberto – vocals
Walter Wanderley (piano, organ); 
Claudio Slon (drums); 
Jose Marino (bass).

It is striking how "dated" this record sounds. Even taking into consideration that this is a 1960s record, that is inevitably the first thing that any listener will notice. But ignoring the kitsch factor for a moment, one can recall that in 1966 when A Certain Smile, A Certain Sadness came out, the bossa nova craze was at a peak, and the album marked a collaboration between two of its biggest stars, vocalist Astrud Gilberto, brought to fame by her rendition of the classic "The Girl From Ipanema," and organist Walter Wanderley. Even though the album is good, it is not as exciting as one might hope. While the music is remarkably innocent and sweet, with just a little underlying touch of sadness beneath the joyous, even naïve, surface, Gilberto and Wanderley do not always seem to work together on these tracks — it often appears as if each is performing in a universe of his or her own. That being said, there are many bright sides to the album, too: Wanderley's organ playing is as enthusiastic and fluffy as ever, while Gilberto's singing (in both English and Portuguese) remains smile-inducing. Both manage to create an incredibly warm sound, and when Wanderley plays some piano (as on the beautiful "A Certain Sadness"), you can sense a spark between the two. So, while A Certain Smile, A Certain Sadness might not be the most successful album of all time, it is still a nice record that fans of either Gilberto or Wanderley will want to have. And — even though one tends to use the word "cocktail lounge music" — their rendition of "Tristeza" is simply irresistible, easy listening or not. --- Chris Genzel, AMG

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Astrud Gilberto - Gilberto With Turrentine (1971)

2021-05-16T09:14:30Z

Astrud Gilberto - Gilberto With Turrentine (1971)


A1		Wanting Things	2:35
A2		Brazilian Tapestry	5:10
A3		To A Flame		Soloist, Flute – Hubert Laws	3:17
A4		Solo El Fin = For All We Know	3:10
A5		Zazueira	3:40
B1		Ponteio	3:35
B2		Travelling Light	3:25
B3		Vera Cruz	5:05
B4		Love Story = Historia De Amor	3:29
B5		Where There's A Heartache	3:10

Bass – Ron Carter, Russell George
Cello – George Ricci
Conductor – Deodato
Drums – Airto Moreira, Dennis Seiwell, Dom Um Romao, Joao Palma
Electric Piano – Eumir Deodato
Flute – George Marge, Hubert Laws, Jerome Richardson, Romeo Penque
Guitar – Gene Bertoncini, Sam Brown, Sivouca
Harmonica – Toots Thielemans
Percussion – Airto Moreira, Dennis Seiwell, Dom Um Romao, Joao Palma
Soloist [All Solos], Guitar – Bob Mann
Tenor Saxophone – Stanley Turrentine
Viola – Harold Coletta
Violin – Emanuel Green, Gene Orloff, Harry Katzman, Joe Malin, Julie Held, Paul Gershman

I have been listening to this album since I was 3 years old when my father first brought this home from the record store in 1972. It is just incredible. Astrud’s voice and laid-back delivery are better here then on her earlier (and better-known) Verve albums.

The real treasures of this album though are the outstanding arrangements by Eumir Deodato, who once again proves he is the master of this type of music. Nearly every track is full of interesting, complex, yet beautiful instrumentation. He blends mellow low strings with lots of Fender Rhodes electric piano, plenty of electric and acoustic guitar, and a wide variety of Brazilian percussion instruments. It’s just a rich tapestry of sound that never fails to intrigue me, even though I’ve probably heard the album a hundred or more times.

Stanley Turrentine is all over this record, and his solos are soulful, strong, and melodic as always. If you can get past a couple of the Carpenters songs that are included, you’ll find it to be a timeless album. This is one you’ll want to listen to this one over and over. ---ontherecord.co

This album is a curious but very listenable amalgam of easy listening jazz with strings and Brazilian rhythms. It is also a patch-up job. Apparently Ms Gilberto was not happy with the sessions so walked off the job, leaving producer Creed Taylor to add more than a few instrumental tracks to flesh out the lack of vocal contributions from the main attraction. Strangely though the whole thing works beautifully.

Astrud sings with all her usual charm. Her voice slightly tremulous conveys a vulnerability and conviction that is utterly captivating. She could never be accused of being a particularly technically assured songbird, but her voice is just right for such as `Travelling Light' and `For All We Know'.

The supporting band is made up of some wonderful musicians, not least Toots Thielemans, Emir Deodarto, Hubert Laws, Ron Cater to name but a few. Together they give Astrid sensitive support made all the better by the superb arrangements of Deodarto. The re-mastered sound is superb, the warmth of the instruments-especially the sax work of Turrentine which comes through very vividly.

Guitarists should listen Gene Bertonici on `To a Flame' and `Vera Cruz' who offers a master-class in tasty soloing. I love this album and I think you might as well! Ps: the bonus tracks are fine, except for `Polytechnical High' which is a bit of a dated novelty tune. ---os, amazon.com

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Astrud Gilberto - Non-Stop To Brazil (2006)

2011-03-06T19:27:11Z

Astrud Gilberto - Non-Stop To Brazil (2006)


01 - Take Me To Aruanda
02 - Bim Bom
03 - I Had The Craziest Dream
04 - Tú, Mi Delirio
05 - On My Mind
06 - Look To The Rainbow
07 - Água De Beber
08 - Call Me
09 - Oba, Oba
10 - Never My Love
11 - Crickets Sing For Anamaria (Os Grillos)
12 - Fly Me To The Moon                     play
13 - Lugar Bonito (Pretty Place)
14 - Meditation
15 - Nao Bate O Corocao
16 - Non-Stop To Brazil                     play
17 - So Finha De Ser Com Voce
18 - Nega Do Cabelo Duro

Brazilian-born samba and bossa nova singer Astrud Gilberto is best known for the enduring hit “The Girl from Ipanema”. Astrud Weinard married to Brazilian guitarist/singer João Gilberto and in 1963, accompanied him to recording session in NewYork, with jazz sax player Stan Getz. They had a track from their forthcoming album Getz/Gilberto that needed an English vocalist. She provided the vocals for the track “The Girl from Ipanema”, and it launched her career. The track became a No.5 hit in 1964, won the Best Record Grammy in 1965, and helped the Getz/Gilberto album become the best- selling jazz album at that time. Its success endures today, and it has been covered by dozens of artists, including Frank Sinatra and Jethro Tull. After the success of the single, a Getz collaboration album was put out quickly by the record company, but her true solo debut came in 1965, with The Astrud Gilberto Album. Though it just missed the Top 40 of the Billboard charts, her subsequent success in Brazil and South America didn’t travel to the States or Europe.

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Astrud Gilberto Plus The James Last Orchestra (1990)

2011-03-04T19:23:33Z

Astrud Gilberto Plus The James Last Orchestra (1990)


1. Samba Do Soho 
2. I'm Nothin' Without You 
3. Champagne and Caviar 
4. Listen to Your Heart 
5. Moon Rain 
6. Caravan                        play
7. Amor E Som 
8. Saci 
9. Forgive Me                     play
10. With Love (When They Turn on the Light) 
11. Agua de Beber

This collaboration with James Last and his orchestra is Astrud Gilberto's finest moment, an absolutely wonderful piece of music. The lush, eclectic instrumentation is complemented by her singing, sometimes criticized as being pretty but plain, unrangy, and without depth. On this recording, she retains a subdued aura but certainly shows versatility, jazziness, and occasionally passion, if not intensity. But blending, not dominant, vocals are needed for this lovely music, and it is the instrumentation that is more captivating.

Two Brazilian Bossa Nova standards are included: the bright and cheerful "Samba do Soho" and the dry "Agua de Beber." But there is much more. The best song is the precious "Listen to Your Heart," an exquisitely textured composition by Ron Last. A radiant xylophone-driven motif is complemented by other beautiful instrumentation and very pretty male/female harmonic vocals, to fabulous effect, lovely and a bit haunting. Closely behind is "With Love (When They Turn on the Light)" (co-authors: James and Ron Last), similar in character. Other superb tracks are the dreamy "Moonrain," with its lush, sensuous string arrangements (and woodwinds), and Duke Ellington's "Caravan," in which Astrud keeps up well with a jazzy, sexy, syncopated beat with unusual accents, punctuated by horn solos, all in all giving the song a sort of mideastern flavor. In a similar mideastern vein is "Saci," with a little faster, more-normal-style jazz beat, excellent sax soloing, and one of two songs Astrud (here male accompanied) sings in Portugese.

Astrud includes some fine compositions of her own. "Champagne and Caviar" is lively, smugly romantic and relaxing, with pretty horn arrangements, following on the heels of the slower-paced "I'm Nothin' Without You," pensive but absolutely charming. "Amor E Som," the other track sung in Portugese, has a steady-driving jazzy beat. All these songs compare favorably with the classic Bossa Nova standards for which she is renowned for performing that were written by the Brazilian masters (OK, granted, Jobim and de Moraes co-wrote "I'm Nothin'," but it is among their best). In fact, the songs on this CD are much more enjoyable than "The Girl From Ipanema," and more interesting and varied, and prettier, than those on her compilation CDs. You will not regret getting this one--it is simply the best. ---Jinkyu

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Astrud Gilberto ‎– The Shadow Of Your Smile (1965)

2018-01-15T16:23:09Z

Astrud Gilberto ‎– The Shadow Of Your Smile (1965)


1 	The Shadow Of Your Smile (Love Theme From "The Sandpiper") 	2:29
2 	(Take Me To) Aruanda 	2:29
3 	Manhã De Carnaval 	1:55
4 	Fly Me To The Moon 	2:19
5 	The Gentle Rain 	2:25
6 	Non-Stop To Brazil 	2:25
7 	O Ganso 	2:06
8 	Who Can I Turn To? (When Nobody Needs Me) 	2:08
9 	Day By Day 	2:07
10 	Tristeza 	2:21
11 	Funny World (Theme From "Malamondo") 	2:25

Arranged By, Conductor – Claus Ogerman (tracks: 4, 8, 9, 11), Don Sebesky (tracks: 1 to 3, 5, 6),
 João Donato (tracks: 7)
Trombone – Kai Winding (tracks: 1 to 3, 5, 6), Urbie Green (tracks: 4, 8, 9, 11)
Valve Trombone – Bob Brookmeyer (tracks: 1 to 3, 5, 6, 10)
Vocals – Astrud Gilberto

For her second Verve LP, Astrud Gilberto expanded her range from a raft of Gilberto/Jobim standards to embrace the large and obviously daunting catalogue of classic American pop. With arrangements by Don Sebesky and Claus Ogerman (as well as two by country-mate João Donato), The Shadow of Your Smile can't help but shine a bright spotlight on Gilberto's weak voice, especially when she's singing material previously enlightened by singers with the weight of Frank Sinatra or Sarah Vaughan. Even the intimate, understated arrangements on songs like "Day by Day," the title track, and "Fly Me to the Moon" overshadow the chanteuse's limited range. Brazilian material like the five songs by Luiz Bonfá make for better listening, though the preponderance of flutes, strings, and muted trumpet in the arrangements is very mid-'60s, for better and worse. (And the notes' description of "O Ganso" as an "exercise in vocalise based on bah and dah sounds" is being more than generous.) Certainly, no American vocalist could hope to equal the tortured syntax and somehow endearing performances on these songs; still, Verve did much better by Gilberto later on when they gave her good-time Brazilian songs to sing and didn't attempt to force comparison with standard jazz/pop vocalists. ---John Bush, AllMusic Review

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Astrud Gilberto – Silver Collection (1990)

2009-10-15T18:37:45Z

Astrud Gilberto – Silver Collection (1990)


1. Once I Loved
2. Agua De Beber
3. Meditation
4. And Roses And Roses
5. O Morro(Nao Tem Vez)
6. How Insensitive
7. Dindi
8. Photograph
9. Dreamer
10. So Finha De Ser Com Voce
11. All That’s Left To Say Is Goodbye
12. The Shadow Of Your Smile
13. Arunda
14. Manha De Carnaval
15. Fly Me To The Moon
16. The Gentle Rain
17. Non-Stop To Brazil
18. O Ganso
19. Who Can I Turn To?(When Nobody Needs Me)
20. Day By Day
21. Tristeza
22. Funny World
23. So Nice(Summer Samba)
24. Let Go(Canto De Ossanho)
25. Berimbou

Personnel includes: 
Astrud Gilberto (vocals); 
Marty Paich, Don Sebesky, Joao Donato, Claus Ogerman, Gil Evans (arranger).

Astrud Gilberto has never been properly anthologized by Verve Records; although they've released a number of compilations over the years, none of them have been definitive, and most of them have been rather skimpy. 1987's The Silver Collection, originally released only in Europe but later imported to North America, is an idiosyncratic selection. It omits "The Girl From Ipanema," her biggest hit, includes all 11 tracks from her 1965 release The Astrud Gilberto Album, and adds on a selection of singles and album tracks recorded from 1965 to 1970 with no particular logic. All that said, however, it's still one of the best compilations available of this idiosyncratic but brilliant singer's '60s material. Jazz purists turn up their noses at Gilberto, correctly pointing out her near total lack of technical ability. However, the Brazilian songbird's appealingly plain voice, with its deliberately wobbly pitch (the "desafinado" style celebrated in Antonio Carlos Jobim's song of that title), total lack of vibrato, and deadpan phrasing, is a delight for those attuned to its charms. (It's likely that many indie pop singers of the '90s, male and female both, were at least indirectly influenced by Gilberto's vocal style, which, in retrospect, seems absolutely revolutionary.) A fine mix of classics and obscurities focusing on her Portuguese language material, The Silver Collection is an excellent starting point for the Gilberto novice, despite the lack of her signature song and the absence of liner notes. One listen to a song like "Summer Samba (So Nice)," arguably the dreamiest pop hit of the '60s, makes plain Gilberto's lasting importance. --- Stewart Mason, allmusic.com

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Astrud Gilberto – Windy (1968)

2009-10-15T18:39:59Z

Astrud Gilberto – Windy (1968)


1. Dreamy 
2. Chup, Chup, I Got Away 
3. Never My Love 
4. Lonely Afternoon 
5. On My Mind 
6. Bare Necessities 
7. Windy 
8. Sing Me a Rainbow 
9. In My Life 
10. Crickets Sing for Anamaria 
11. Where Are They Now?

While assembled from seemingly disparate sessions arranged by Eumir Deodato, Don Sebesky, and Pat Williams, Windy nevertheless proves one of Astrud Gilberto's most consistent and sublime efforts, artfully straddling the division between Brazilian bossa nova and American sunshine pop. Credit the aforementioned arrangers for much of the LP's appeal -- from a percolating rendition of the Association's title cut to a neo-classical reinvention of the Beatles' "In My Life," the songs possess a lithe, shimmering beauty that perfectly complements Gilberto's feathery vocals. Still, she can't quite skirt the cloying sweetness that undermines so many of her mid-period Verve LPs -- son Marcelo, who first joined his mother on the previous Beach Samba for an excruciating duet version of the Lovin Spoonful's "You Didn't Have to Be So Nice," resurfaces here for a reading of The Jungle Book's "The Bare Necessities," proving yet again that children should be seen and not heard. ---Jason Ankeny, All Music Guide

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