Artist: Stan Getz, Gary McFarland
Album: Big Band Bossa Nova
Genre: Jazz, Bossa Nova
Release Date: 1962/2014
Audio Format:: FLAC (tracks) 24 bit, 192 kHz
Duration: 33:42
Total Tracks: 8
Total Size: 1,40 GB

Tracklist:

01. Stan Getz – Manha de Carnival (Morning of the Carnival) (05:49)
02. Stan Getz – Balanço no Samba (Street Dance) (03:00)
03. Stan Getz – Melancólico (Melancholy) (04:44)
04. Stan Getz – Entre Amigos (Sympathy Between Friends) (02:59)
05. Stan Getz – Chega de Saudade (No More Blues) (04:11)
06. Stan Getz – Noite Triste (Night Sadness) (04:58)
07. Stan Getz – Samba de Uma Nota Só (One Note Samba) (03:28)
08. Stan Getz – Bim Bom (04:30)

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Big Band Bossa Nova is a 1962 album by saxophonist Stan Getz with the Gary McFarland Orchestra. The album was arranged and conducted by Gary McFarland and produced by Creed Taylor for Verve Records. Bossa nova means ‘new wave’ or ‘new trend’, and this album rode that wave, making No. 13 on the Billboard album chart in 1963 in the wake of the success of Jazz Samba (1962) and prior to the release of Getz/Gilberto (1964). Sandwiched as it is between the two classic albums of the era, it sometimes gets unfairly overlooked. The piano playing of Hank Jones is particularly good while Jim Hall plays acoustic guitar in the Charlie Byrd role. Four of the tracks are written by the arranger Gary McFarland, while the other tracks come from the Brazil’s Jobim, Gilberto and Bonfa; Getz recorded Jazz Samba Encore with Jobim and Bonfa a few months later in February 1963.Fresh from the sudden success of Jazz Samba and “Desafinado,” Stan Getz asked the 28-year-old, strikingly gifted Gary McFarland to arrange a bossa nova album for big band as a follow-up. Getz is always his debonair, wistful, freely-floating self, completely at home in the Brazilian idiom that he’d adopted only a few months before. McFarland usually keeps things nice and spare (although “One Note Samba” is uncharacteristically cluttered and a bit too discordant for the material), letting his pungent voicings stab the air now and then, while allowing the soloists all the room they want within the confines of producer Creed Taylor’s tight timings. Four of the eight songs are by McFarland (none of which would become standards), and Getz makes relaxed impressions with “Manha de Carnival” and “Chega de Saudade.” Jim Hall takes the role of acoustic guitarist from Charlie Byrd with his usual fluidity, and Hank Jones ruminates in a boppish way on piano. This album also charted quite respectably (number 13) in the first flush of the bossa nova boom.