Astrud for Lovers is a strong collection of love songs performed by Brazilian singer Astrud Gilberto. Her wispy and melancholic vocals are featured in a variety of settings recorded between 1963 and 1969 for Verve. The earliest tune, "Corcovado (Quiet Nights of Quiet Stars)," is taken from the legendary Getz/Gilberto album that marked Astrud's star-making first recording. The rest of the collection finds her with Stan Getz again doing a sweet version of "It Might as Well Be Spring" in 1964.
Compilation album released in the U.S.A. on Brazilian singer Astrud Gilberto (Bahia, 1940). She features twelve songs from her diverse discography that stands in the melodic and romantic look of the compositions. The subject of love has always been a favorite in the production of Astrud, both accompanied by orchestra and small ensembles in which artists appear as Stan Getz, Antonio Carlos Jobim, Joao Gilbert, Walter Wanderley or Kenny Burrell among others, interpreting Brazilian rhythms, especially bossa, ballad or slow.
Like Nico, Astrud Gilberto's everywoman voiced has always had a polarizing effect on critics and fans alike. While her take on bossa nova is less than reverent and decidedly lightweight, the warmth and approachability she brings to each performance is stunning. Verve's lovingly compiled - and blissfully affordable - Astrud Gilberto's Finest Hour is as solid a collection of her heady mixture of samba, jazz and pop as you're likely to find. Twenty songs, including the classic "Girl From Ipanema," wash in like waves from the warmest of oceans, carrying with them the soft, reverb-drenched soundtrack to summer. If the tropical heat of "Berimbau," the lazy and lonely pulse of Burt Bacharach's "Trains and Boats and Planes" and the upbeat swing of "Wish Me a Rainbow" don't instantly take the drudgery of your day away, then consider yourself hopelessly bitter.
Thirteenth studio album by Brazilian singer Astrud Gilberto (Bahia, 1940). Her voice sample, as in other works, warm, soft and intimate, but also is suggestive and seductive. The accompaniment by James Last Orchestra pays her deservedly eclectic instrumentation that enhances her versatility and vocal intensity, sometimes passionately featured in a musical pairing very carefully. Guest artists are Paul Jobim (composer and guitar) and Ron Last (composer and synthesizer). Brazilian rhythms in the voice of Astrud supported by sensual strings and brass, unmistakable Last's gift.
Bossa Nova translated as the "new beat" or "the new style", grew out of Rio De Janeiro in 1958. The instigators were a handful of artists with a desire to break from tradition, developing the samba rhythms with the influence of cool American jazz to find a music with such a warm soul and natural rhythm that no-one can help but tap and sway to its beat. Bossa Nova is palm trees swaying, it is like melting sugar in hot coffee, it is the setting sun and warm sand underfoot. It is the sound and beat of Brazil, it is one of the world's coolest musical styles and it remains to this day one of the world's great musical treasures.
In 1966, the bossa nova craze was at a peak, and A Certain Smile, A Certain Sadness marked a collaboration between two of its biggest stars – vocalist Astrud Gilberto, brought to fame by her classic rendition of "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.