Return To Ipanema: Verve Marks 50th Anniversary of “Getz/Gilberto” With Deluxe Reissue

That tall and tan and young and lovely “Girl from Ipanema” is back, thanks to Verve Records’ 50th Anniversary Edition of Stan Getz and Joao Gilberto’s Getz/Gilberto.   In stores today, this new deluxe edition presents the seminal bossa nova album in both mono and stereo, with the mono mix appearing on CD for the very first time. In addition, this release retains the bonus tracks – single versions of “The Girl from Ipanema” and “Corcovado” – from Verve’s previous reissue.

Bossa nova, translated, literally means “new trend.” And as 1964 began, with the British Invasion taking flight, America was also experiencing a Brazilian Invasion thanks to this new trend in popular music and jazz. Identified by gentle acoustic guitar and sometimes piano, and often adorned with subtle string or horn accents, bossa nova was a cooler, more relaxed variation on the rhythms of samba. It soon was adapted on stages from the concert hall to Broadway, spawned the “lounge” genre and influenced countless musicians across the genre divide. But the album that started the American bossa nova craze was undisputedly Getz/Gilberto, a Verve LP produced by Creed Taylor and featuring Stan Getz and João Gilberto with notable cameos by Gilberto’s young wife Astrud. Getz/Gilberto spawned a live sequel as well as countless imitations, and has remained in print since its initial release. The original album, recorded at New York’s A&R Studios by engineer Phil Ramone, has been issued in nearly every format conceivable, including audiophile reissues on LP, SACD and Blu-ray Audio.

Upon its original release in May 1964, Getz/Gilberto was an instant sensation. Tenor saxophonist Getz was accompanied by João Gilberto on guitar and vocals, Sebastiao Neto on bass, Milton Banana on drums and the man most closely associated with bossa nova, Antonio Carlos Jobim, on piano. (Jobim also received a featured credit on the album cover.) Born in 1927, Jobim was one of the composers, primarily with Luis Bonfá, of the 1959 film Black Orpheus. The motion picture, based on a 1956 stage play for which Jobim and Vinicius de Moraes also supplied the score, introduced bossa nova to a wider audience despite its harsher, more percussion-driven style on the film soundtrack.

João Gilberto began recording in his native Brazil as early as 1951, but his earliest work was mere prelude to the seismic contributions he would make to world music later in the decade. “Bim-Bom,” written by Gilberto in 1956 but not recorded until 1958, has been considered the first true bossa nova song. The artist’s hushed style of voice-and-guitar epitomized the breezy yet sophisticated genre which refined the traditional sound of samba into something intimate, inviting and richly melodic. Gilberto’s 1959 album Chega de Saudade, named after a composition by his friends Jobim and de Moraes, was the first bossa nova LP, and ignited the genre.  He also played a major role on the Black Orpheus soundtrack.

Stan Getz had discovered this startling new sound on a trip to Brazil, and in 1962 released Jazz Samba, a collaboration with Charlie Byrd that is recognized as one of the first major American albums in the bossa nova style.  Verve chief and future CTI Records founder Creed Taylor, always one with a keen ear for pop “crossover” jazz, was in the producer’s chair for Jazz Samba. Two Jobim songs were heard on Jazz Samba, “Desafinado” and “One Note Samba.” Getz teamed with Bonfá and Taylor for Jazz Samba Encore! in 1963 with three Jobim compositions, “I Only Dance Samba,” “How Insensitive” and “O Morro Não Tem Vez.”   This quick sequel was the first American/Brazilian bossa effort.  The saxophonist was poised for a breakthrough when he teamed with João Gilberto and Taylor to record Getz/Gilberto, his most coolly intimate bossa exploration, in March 1963 (more than a year before its release).

Hit the jump for more details on the new Getz/Gilberto!

Release Round-Up: Week of May 27

Holland-Dozier-Holland: The Complete 45s Collection: Invictus/Hot Wax/Music Merchant 1969-1977 (Harmless)

The H-D-H compositions/production didn’t stop after the trio left Motown; they in fact created several labels and did an awful lot of work for them, as evidenced by this massive eight-disc box set of their works for three labels through the late ’60s and ’70s. (Amazon U.S. / Amazon U.K.)

KISS, KISS 40 (UMe)

You wanted the best, you got the best, in the form of a double-disc hits compilation representing every KISS studio, live and compilation album with some rare tracks and an unreleased demo for collectors. (Amazon U.S. / Amazon U.K.)

Stan Getz and Joao Gilberto, Getz/Gilberto: 50th Anniversary Edition (Verve)

The 50th anniversary edition of the landmark bossa nova classic presents the album in both mono and stereo, with the mono version appearing on CD for the first time.  It also adds two original single sides and new liner notes from Marc Myers. (Amazon U.S. / Amazon U.K.)

Various Artists, Playlist: The Very Best of (Legacy)

Legacy’s long-running Playlist series now features new single-disc compilations for American Idol contestants Adam Lambert and Kellie Pickler (both featuring unreleased performances from the TV series) and a very diverse collection for Rick Derringer (“Rock and Roll, Hoochie Koo,” “Hang On Sloopy” and “Real American” on one disc?!).

Johnny Cash duets: Amazon U.S. / Amazon U.K.
Rick Derringer: Amazon U.S. / Amazon U.K.
Celine Dion (All the Way…A Decade of Song): Amazon U.S. / Amazon U.K.
The Fifth Dimension: Amazon U.S. / Amazon U.K.
George Jones duets: Amazon U.S. / Amazon U.K.
Adam Lambert: Amazon U.S. / Amazon U.K.
Kellie Pickler: Amazon U.S. / Amazon U.K.
Elvis Presley – Movie Songs: Amazon U.S. / Amazon U.K.
Edgar Winter: Amazon U.S. / Amazon U.K.

REO Speedwagon, The Box Set Series (Epic/Legacy)

Part of Legacy’s four-disc budget series, this title sets itself apart with a really cool gem: the inaugural release of the original studio version of live favorite “Ridin’ the Storm Out,” with Kevin Cronin’s vocal (he was replaced briefly by singer Mike Murphy following creative disputes). (Amazon U.S. / Amazon U.K.)

Patti LaBelle, Tasty / Carolyn Franklin, If You Want Me (Big Break)

The latest from BBR: Joe’s full rundowns are coming soon!

Patti LaBelle: Amazon U.S. / Amazon U.K.
Carolyn Franklin: Amazon U.S. / Amazon U.K.

Swan Esther: Original Concept Album  (Stage Door)

Stage Door Records has the CD premiere of Nick Munns and J. Edward Oliver’s 1983 British musical retelling of the Biblical story of Esther, starring Denis Quilley and Stephanie Lawrence.  This special edition adds a number of never-before-released demos recorded in 1985 for the revised show’s touring premiere as Swan Esther and The King. (Amazon U.S. / Amazon U.K.)

Jazz It Up with New Verve Records Box Set

More than half a century after visionary music impresario Norman Granz founded his third and arguably most successful label, Verve Records, the label will be celebrated in style next month with a new book and a five-disc box set, The Sound of America: The Singles Collection.

Granz had previously come to prominence in the jazz world a decade before, when he organized a diverse jam session of a concert at Los Angeles’ Philharmonic Auditorium in 1944. This regular session turned into a full-fledged concert tour, and “Jazz At The Philharmonic” became one of the biggest national platforms for jazz musicians (both black and white) in North America. Recordings of the shows were licensed to Mercury Records, then in turn to two of Granz’s own labels, Clef and Norgran.

But it was Verve, founded in 1956, that enjoyed the greatest success, largely thanks to two factors: the rise of the 12″ long-playing record album, and Granz signing his biggest client as a manager to the label. Ella Fitzgerald, who’d been wooed to Verve from Decca, made some of the greatest recordings in jazz history during her years there, starting with her legendary Songbook series, which found her interpreting the catalogues of Cole Porter, Rodgers & Hart, Duke Ellington, George & Ira Gershwin and many more.

From there, Verve was, at one time or another, home to a who’s who of jazz luminaries, including pianist Oscar Peterson, trumpeters Dizzy Gillespie and Louis Armstrong, organist Jimmy Smith, saxophonist Stan Getz, guitarist Wes Montgomery and even vocalists like Bing Crosby and Mel Tormé. Today, the Verve label still exists as a home for new and catalogue jazz; current acts include operatic tenor Andrea Bocelli and jazz vocalist Diana Krall.

The Sound of America: The Singles Collection features 100 tracks – not only sides from the Verve years, but a handful of pre-Verve jazz singles on Clef and Norgran – over five discs, “over 20 of which have been out of print for years.” All the discs are contained in their own individual slipcases, packaged in a box with a lift-off lid alongside a 48-page book of liner notes. The box hits stores December 10, just over a month after the publication of Verve Records: The Sound of America, an exhaustive written history of the label from producer/researcher Richard Havers.

The full track list and order links for the box set are after the jump.

In Memoriam: Phil Ramone (1934-2013)

Today, The Second Disc remembers Phil Ramone.

The multiple Grammy-winning producer, 79, died on Saturday, leaving behind a legacy of song from artists ranging from Barbra Streisand to Paul McCartney, Barry Manilow to The Band.  Yet unlike so many of his contemporaries, Phil Ramone didn’t have a signature style.  Instead of molding a band or singer to a preferred sonic specialty, he was a true architect of sound, tailoring each production to the individual artist.  Ramone was equally comfortable with pop, rock, jazz, R&B, and the worlds of Broadway and Hollywood, not to mention classical – the genre in which Ramone started his love affair with music, as a Juilliard-trained violin prodigy.

Phil Ramone modestly titled his 2007 memoir Making Records, because that’s precisely what he did, from the day he and partner Jack Arnold opened the doors of New York’s A&R Studios in 1959.  Prior to that, he had been mentored by Charles Leighton at JAC Recording.  At A&R, Ramone perfected the art of engineering.  He earned his first Grammy for Stan Getz and Joao Gilberto’s immortal Getz/Gilberto, and soon A&R was the preferred destination for producers Burt Bacharach and Hal David to craft their movies-in-miniature with Dionne Warwick.  Ramone’s eclectic C.V. as an engineer and later, producer, took in pop princesses (Lesley Gore), folkies (Peter, Paul and Mary), jazz legends (Tony Bennett), superstars (Barbra Streisand), Beatles (Paul McCartney), Geniuses (Ray Charles), and Chairmen (Frank Sinatra), as well as everyone in between.

Chicago, Phoebe Snow, Kenny Loggins, Carly Simon, B.J. Thomas, Liza Minnelli, Rod Stewart, and of course, Paul Simon and Billy Joel all logged studio time with Phil Ramone at the console.  With Simon, Ramone helmed such beloved albums as There Goes Rhymin’ Simon and Still Crazy After All These Years, still cornerstones of the singer-songwriter’s catalogue.  With Joel, Ramone embarked on a seven-album, nine-year partnership that remains one of the most successful in rock history.  The duo also hold a place in the history books, as Joel’s 52nd Street, produced by Ramone, became the first commercially released compact disc when it hit stores in Japan on October 1, 1982.

To every project, Ramone brought an understated, subtle touch of class that squarely put the emphasis on music and sound: making each musician and singer’s contribution heard, cleanly and resonantly.  Even a partial list of songs with Ramone’s involvement is staggering: “Times of Your Life,” “Raindrops Keep Falling on My Head,” “It Never Rains in Southern California,” “Uncle Albert/Admiral Halsey,” “Evergreen (Love Theme from A Star is Born),” “Loves Me Like a Rock,” “Just the Way You Are,” “Afternoon Delight,” “Poetry Man,” “If You Could Read My Mind,” “Leaving on a Jet Plane,” “Maniac.”

Phil Ramone could have ushered in 2013 basking in the glow of acclaimed recent albums from Dionne Warwick and Tony Bennett, but he remained active.  At the time of his death, he was working on a variety of characteristically diverse projects with artists such as George Michael and Glee star Matthew Morrison.  Bette Midler eulogized him as “kind beyond words,” echoing the sentiments of so many others.  Ben Folds called him “brilliant, generous, talented,” while Tony Bennett noted his “wonderful sense of humor and deep love of music.”  To celebrate the career of the legendary Phil Ramone, Mike and I have each contributed a playlist of ten favorite projects on which he worked.  These aren’t necessarily his most significant, or his most famous, though some might indeed be.  Taken together, they simply represent twenty slices of the versatility, dynamism and sheer hallmark of quality that made Phil Ramone an in-demand talent, and sympathetic collaborator of so many, for over fifty years.

If there’s a rock-and-roll heaven, you know they’ve got one helluva band, true.  But now there’s one helluva producer sitting at the desk.

Hit the jump for two interactive Phil Ramone Top 10s!

Come Fly With Me: Bobby, Peggy, Ella, Buddy Take Off With “Pan Am” Soundtrack

Following in the footsteps of Matthew Weiner’s 1960s drama Mad Men, Jack Orman’s Pan Am takes to the airwaves each week on ABC with a period-perfect recreation of the days when “the world’s most experienced airline” ruled the skies.  Now, the show’s impeccably-selected music can be yours to keep – and perhaps used as the soundtrack to your very own swinging cocktail party! – on Verve’s Pan Am: Music From and Inspired by the Original Series, due to arrive on January 17.  How appropriate that one of the most recognizable labels of the Jet Age will release the soundtrack to the series that celebrates the period’s glamour, sex appeal and style.

The CD’s fourteen tracks are a pleasing mix of the familiar and the uncommon, and the classic line-up has been bolstered by two new performances.  Grace Potter, of Grace Potter and the Nocturnals, offers a new take on Bart Howard’s “Fly Me to the Moon,” while Nikki Jean puts her own spin on John Lennon and Paul McCartney’s “Do You Want to Know a Secret.”  Nikki Jean certainly knows her way around a great song, having collaborated with Burt Bacharach, Thom Bell, Jimmy Webb, Carole King, Paul Williams, Lamont Dozier and even Bob Dylan on her 2011 debut (and future classic!) Pennies in a Jar.

Buddy Greco’s fizzy version of Victor Young and Harold Adamson’s “Around the World” featured prominently in the Pan Am pilot, and it’s of course heard here.  From Verve’s own catalogue comes Ella Fitzgerald’s Songbook recording of Irving Berlin’s “Blue Skies,” Shirley Horn’s interpretation of Cy Coleman and Carolyn Leigh’s optimistic “The Best Is Yet To Come,” and the original Stan Getz recording of the bossa nova anthem “The Girl from Ipanema.”  The era-defining bossa nova sound is also heard on Sergio Mendes and Brasil 66’s “Mas Que Nada.”  Peggy Lee offers “New York City Blues,” co-written by the chanteuse with Quincy Jones, and the travel theme continues with Dinah Washington’s “Destination Moon” and Connie Francis’ Italian take of “Quando Quando Quando” (recorded years before Engelbert Humperdinck popularized the song in English).

Hit the jump for more, including the full track listing with discographical annotation!

Ipanema, Again: “Getz/Gilberto” Restored To Original Mix For New SACD and Vinyl LP

Bossa nova, translated, literally means “new trend.” And as 1964 began, with the British Invasion taking flight, America was also experiencing a Brazilian Invasion thanks to this new trend in popular music and jazz. Identified by gentle acoustic guitar and sometimes piano, and often adorned with subtle string or horn accents, bossa nova was based on the rhythms of the samba. It soon was adapted on stages from the concert hall to Broadway, spawned the “lounge” genre and influenced countless musicians across the genre divide. But the album that started the American bossa nova craze was undisputedly Getz/Gilberto, a Verve LP produced by Creed Taylor and featuring Stan Getz and Joao Gilberto with notable cameos by Gilberto’s young wife Astrud. Getz/Gilberto has remained in print since its initial release and has been issued in nearly every format conceivable, including SACD. Analogue Productions (the label responsible for the amazing Nat “King” Cole multichannel discs) will reissue Getz/Gilberto yet again on SACD on June 14, but with a difference. According to Analogue, “the original master tapes for this title had not been used since 1980 previous to this reissue. Also, for this Analogue Productions reissue the decision was made to master and present this album as it was originally mixed to master tape. With only one exception – the [Kevin Gray-mastered LP] Speakers Corner reissue – all versions of this title to date have had the channels incorrectly reversed.” (This is quickly distinguishable by Astrud Gilberto’s vocal on the seminal “The Girl from Ipanema” coming from the left channel.)

Getz/Gilberto was an instant sensation. Tenor saxophonist Getz was accompanied by Joao Gilberto on guitar and vocals, Sebastiao Neto on bass, Milton Banana on drums and the man most closely associated with bossa nova, Antonio Carlos Jobim, on piano. Born in 1927, Jobim was one of the composers (primarily with Luis Bonfa) of the 1959 film Black Orpheus, credited with introducing bossa nova to a wider audience despite its harsher, more percussion-driven style on the film soundtrack. Jobim’s association with Black Orpheus actually dated back to 1956 when he and Vinicius de Moraes supplied music, including the song “Someone to Light Up My Life,” for the original stage play. Stan Getz had discovered the new sound on a trip to Brazil, and in 1962 released Jazz Samba, a collaboration with Charlie Byrd that is recognized as the first major American album in the style. Creed Taylor was in the producer’s chair for this auspicious collection. Two Jobim songs were heard on Jazz Samba, “Desafinado” and “One Note Samba.” He teamed with Bonfa for Jazz Samba Encore! in 1963 with three Jobim compositions, “I Only Dance Samba,” “How Insensitive” and “O Morro Não Tem Vez.” Getz was poised for a breakthrough when he teamed with Joao Gilberto for Getz/Gilberto.

Hit the jump for more on this jazz classic including the track listing, discographical info and pre-order link!

Byrds, Cooke, Corea, Getz “Complete Album Collections” Coming from Legacy

This morning, Sony’s Legacy division kicked off a new catalogue initiative that’s sure to raise a few eyebrows!  The Complete Album Collection box sets bring together an artist’s entire tenure at a label (in these cases, Columbia and RCA Victor) in one tidy box set, with albums in individual mini-LP sleeves.  The first four artists to receive this treatment are The Byrds, Sam Cooke, Stan Getz and Return to Forever, and the boxes are available for pre-order now exclusively through PopMarket.  While many of the titles included have been released on CD in the past, other albums will be making their U.S. CD debuts.  (The Cooke is the most exciting set in this respect, with six of the eight albums new to American CD.  The Getz set has a special surprise, too, in the form of a bonus disc with stray Getz selections.)

We’ll fill in the details later, but in the interest of passing this information to you as quickly as possible, hit the jump for the titles included in each box set and the label-supplied information for each title!  All titles can be pre-ordered now at PopMarket.

Barry Manilow Revisits His Classic “Duets” on New Collection

While Barry Manilow’s fans patiently wait for 15 Minutes, his first album of all original material since 2001’s Here at the Mayflower, Arista and Legacy will offer a chance to look back at some past moments in Manilow’s long career. Duets compiles fifteen teamings, some more difficult to find than others, spanning the period between 1980 (“The Last Duet” with Lily Tomlin, from Barry) and 2008 (“Islands in the Stream” with Reba McEntire, from The Greatest Songs of the Eighties.) This 15-track collection is due on April 5.

Duets covers all of the eclectic bases in Manilow’s lengthy career. His work as a film score composer is represented by two tracks from Don Bluth’s animated films (“Let Me Be Your Wings,” a duet from Thumbelina with Debra Byrd, now an American Idol vocal coach, and “Now and Forever,” a Sheena Easton duet from The Pebble and the Penguin) while his explorations into jazz and swing are covered by collaborations with a legendary and now-deceased group – Mel Torme, Gerry Mulligan, Stan Getz and Sarah Vaughan – as well as the very-much-alive and still active Diane Schuur. A trip to Broadway on Showstoppers yielded “Look to the Rainbow” from Finian’s Rainbow with the renowned Barbara Cook. Songs not released on Manilow’s own albums or soundtracks are present, too, including 2003’s reunion with Bette Midler on the Frank Loesser classic “On a Slow Boat to China” and 2002’s “I Don’t Want to Be the One to Let Go” which joined Manilow with fellow Brooklynite Barbra Streisand for the first time on disc. (This song is actually a duet in more ways than one, as it was co-written with none other than Richard Marx!) Among the most underrated tracks present (other than the delicious and all-too-unknown “Last Duet” in which Manilow spoofs a number of hit songs) is the 1985 teaming with Dionne Warwick on The Bee Gees’ “Run to Me.” For more details as well as the full track listing with discographical information, hit the jump, won’t you?

Friday Feature: “Catch Me If You Can”

It’s hard not to be skeptical over the fact that Catch Me If You Can, the amazing “true story of a real fake,” is coming to Broadway. Modern musicals based on existing properties either hew too close to their original musical source material (if they were already rooted in song, like Footloose) or not close enough; consider Spider-Man: Turn Off the Dark, for instance. (Or don’t!)

The few songs this author’s heard from the Catch Me musical score, sent on a promotional disc, are jaunty and fun enough – score writers Marc Shaiman and Scott Wittman, the duo behind Hairspray, certainly know how to make you bob your head – but there’s a soft spot in my heart for the music of the original. Of course, the film wasn’t a musical, but the flick has a rich and underrated musical legacy, as you’ll read in today’s Friday Feature.

Fasten your seatbelts, bring your seat backs and tray tables to the locked and upright positions and read on after the jump!

Release Round-Up: Week of February 8

The Beatles, Love (iTunes Version) (Apple/EMI)

Another Beatles album drops on iTunes: the 2006 soundtrack to the Cirque du Soleil attraction – and this version has two previously unreleased bonus tracks. (iTunes)

Miles Davis, Bitches Brew Live (Columbia/Legacy)

The jazz great lights up the Newport Jazz and Isle of Wight Festivals in this vintage compilation (Sony)

The Stan Getz Quintets, The Clef & Norgran Studio Albums (Verve/Hip-o Select)

A three-disc box collating Getz’s early quintet years, much of it unavailable on CD until now. (Hip-o Select)