His parents were Ukrainian Jews who immigrated from Kyiv city, Ukraine in 1903. The family later moved to New York City for better jobs. Stan worked hard in school receiving straight "A's" on average and finished 6th grade close to the top of his class. Stan's major interest was in musical instruments, and he felt a need to play every instrument in his sight. He played a number of instruments before his father bought him his first saxophone at the age of 13. Even though his father also got him a clarinet, Stan instantly fell in love with the saxophone and began practicing 8 hours a day. In 1941, he was accepted into the All City High School Orchestra of New York City. This gave Stan a chance to receive a private, free tutor from the New York Philharmonic, Simon Kovar - a bassoon player. He also began to spend more time playing the saxophone. He eventually dropped out of school in order to pursue his musical career, but was later sent back to the classroom by the school system’s truancy officers.
In 1943, he was accepted into Jack Teagarden's band, and because of his youth he became Teagarden's ward. Getz also played along with Nat King Cole and Lionel Hampton. After playing for Stan Kenton, Jimmy Dorsey, and Benny Goodman, Getz was a soloist with Woody Herman from 1947 to 1949 in 'The Second Herd' and he first gained wide attention as one of the band's saxophonists, who were known collectively as 'The Four Brothers', the others being Serge Chaloff, Zoot Sims and Herbie Steward. With Herman, he had a hit with "Early Autumn" and after Getz left 'The Second Herd' he was able to launch his solo career. He would be the leader on almost all of his recording sessions after 1950.
During the early '50s, Getz broke away from the Lester Young style to form his own musical identity and he was soon among the most popular of all jazzmen. He discovered Horace Silver in 1950 and used him in his quartet for several months. After touring Sweden in 1951, he formed an exciting quintet that co-featured guitarist Jimmy Raney; their interplay on up-tempo tunes and tonal blend on ballads was quite memorable. Getz's playing helped Johnny Smith have a hit in "Moonlight in Vermont," during 1953-1954 Bob Brookmeyer made his group a quintet and, despite some drug problems during the decade, Getz was a constant poll winner. After spending 1958-1960 in Europe, the tenorman returned to the U.S. and recorded his personal favorite album, Focus, with arranger Eddie Sauter's Orchestra.
Getz became a central figure in introducing bossa nova music to the U.S. audience. Teaming with guitarist Charlie Byrd, who had just returned from a U.S. State Department tour of Brazil, Getz recorded Jazz Samba in 1962 and it became a hit. The title track was an adaptation of Antonio Carlos Jobim's "One Note Samba". Getz won the Grammy for Best Jazz Performance of 1963 for "Desafinado". As a follow-up, Getz recorded Jazz Samba Encore! with one of the originators of bossa nova, Brazilian guitarist Luiz Bonfa.
He then recorded the album Getz/Gilberto with Tom Jobim, João Gilberto and his wife, Astrud Gilberto. Their "The Girl from Ipanema" won a Grammy Award. The piece became one of the most well-known latin jazz cuts of all time. Getz/Gilberto won two Grammys (Best Album and Best Single), besting The Beatles' A Hard Day's Night, a victory for Bossa Nova and Brazilian jazz. A live album, Getz/Gilberto Vol. 2, followed, as did Getz Au Go Go, a recording made live at the Cafe Au Go Go. Unfortunately, Getz' affair with Astrud Gilberto brought an end to his musical partnership with her and her husband and he began to move away from bossa-nova and back to cool jazz. Even while still working with the Gilbertos, he recorded Nobody Else But Me an album of straightforward jazz with a new quartet including vibraphonist Gary Burton, but Verve Records, wishing to continue building the Getz brand with bossa-nova, refused to release it. It eventually came out 30 years later, after Getz had died.
In 1972, Getz recorded in the fusion idiom with Chick Corea and Stanley Clarke. This group, without Getz, went on to become the famous Return to Forever, and many of the pieces including "La Fiesta" remained in their repertoire. In this period Getz experimented with an Echoplex on his saxophone, for which critics vilified him. He eventually discarded fusion and "electric jazz", returning to acoustic jazz, while at the same time gradually de-emphasizing the Bossa Nova, opting for more esoteric and less-mainstream jazz. He had a cameo in the movie The Exterminator (1980).
Towards the end of his life the now drug-free Getz had another creative peak with a group including the pianist Kenny Barron, whom Getz described as "my musical other half".
In 1986, he was inducted into the Down Beat Jazz Hall of Fame.
Getz married Beverly Byrne, a vocalist with the Gene Krupa band, on 7 November 1946; they had three children together: Steven, David, and Beverly (who married Michael McGovern).
Getz became involved with drugs and alcohol while a teenager. In 1954, he was arrested for attempting to rob a pharmacy to get a morphine fix. As he was being processed in the prison ward of Los Angeles County-USC Medical Center, Beverly gave birth to their third child one floor below.
Getz tried to escape his narcotics addiction by moving to Copenhagen. He married Swedish aristocrat Monica Silfverskiöld on 3 November 1956 and had two children with her: Pamela and Nicolas. In 1957 Swedish girlfriend Inga Torgnér gave birth to a son Peter. Stan divorced Monica in 1987.
Zoot Sims, who had known Getz since their time with Herman, once described him as 'a nice bunch of guys', as a consequence of the wide behavioural range of which Getz was capable. In the final stages of his life Getz was able to end his addictions.
Getz died of liver cancer in 1991. His body was cremated and the ashes scattered at sea, off the coast of Malibu, California.
In 1998 the 'Stan Getz Media Center and Library' at the Berklee College of Music was dedicated through a donation from the Herb Alpert Foundation.
Águas de março
Stan Getz Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
É um resto de toco, é um pouco sozinho
É um caco de vidro, é a vida, é o sol
É a noite, é a morte, é um laço, é o anzol
É peroba do campo, é o nó da madeira
Caingá candeia, é o matita-pereira
É madeira de vento, tombo da ribanceira
É o vento vetando, é o fim da ladeira
É a viga, é o vão, festa da cumeeira
É a chuva chovendo, é conversa ribeira
Das águas de Março, é o fim da canseira
É o pé, é o chão, é a marcha estradeira
Passarinho na mão, pedra de atiradeira
É uma ave no céu, é uma ave no chão
É um regato, é uma fonte, é um pedaço de pão
É o fundo do poço, é o fim do caminho
No rosto um desgosto, é um pouco sozinho
É um estepe, é um prego, é uma conta, é um conto
É um pingo pingando, é uma conta, é um ponto
É um peixe, é um gesto, é uma prata brilhando
É a luz da manhã, é o tijolo chegando
É a lenha, é o dia, é o fim da picada
É a garrafa de cana, o estilhaço na estrada
É o projeto da casa, é o corpo na cama
É o carro enguiçado, é a lama, é a lama
É um passo, é uma ponte, é um sapo, é uma rã
É um resto de mato na luz da manhã
São as águas de março fechando o verão
É a promessa de vida no teu coração
É uma cobra, é um pau, é João, é José
É um espinho na mão, é um corte no pé
São as águas de Março fechando o verão
É a promessa de vida no teu coração
É pau, é pedra, é o fim do caminho
É um resto de toco, é um pouco sozinho
É um passo, é uma ponte, é um sapo, é uma rã
É um belo horizonte, é uma febre terçã
São as águas de Março fechando o verão
É a promessa de vida no teu coração
Pau (edra)
In (inho)
Peixe (peixe)
Oco (vinho)
Água (vidro)
Vida (ól)
Oite (orti)
Aço (zol)
São as águas de Março fechando o verão
É a promessa de vida no teu coração
The lyrics to Águas de Março by Stan Getz are poetic and complex, painting a vivid picture of the many different facets of life. The song talks about the end of the road, the different things we encounter along the way, and the promises of life that we carry in our hearts. It speaks to the paradox of life, where beauty and hardship are intertwined and the things we consider mundane can be just as important as the extraordinary. Throughout the lyrics, there is an emphasis on the natural world, which is used as a metaphor for the different stages of life.
The song is full of contrasts, such as the juxtaposition of "madeira de vento" (wind wood) with "nó da madeira" (knot of wood) and "passarinho na mão" (bird in hand) with "pedra de atiradeira" (stone for slingshot). This use of contrast adds depth and complexity to the lyrics, inviting the listener to reflect on the different facets of life and the many meanings that can be found in each moment.
Overall, Águas de Março is a beautiful and thought-provoking song that encourages us to embrace the complexity of life and find beauty in the everyday.
Line by Line Meaning
É o pau, é a pedra, é o fim do caminho
Life is full of obstacles and challenges that one must face and overcome.
É um resto de toco, é um pouco sozinho
The feeling of loneliness and isolation that can often accompany one on their journey.
É um caco de vidro, é a vida, é o sol
Life can be both beautiful and fragile, like a shard of glass reflecting and refracting the light of the sun.
É a noite, é a morte, é um laço, é o anzol
The darkness of night can bring with it a sense of mortality, and life can feel like a trap or a lure that one can become ensnared in.
É peroba do campo, é o nó da madeira
The strength and intricacies of the natural world and its materials.
Caingá candeia, é o matita-pereira
The beauty and spirit of Brazil's flora and fauna, and its musical traditions.
É madeira de vento, tombo da ribanceira
Natural disasters and windstorms can bring destruction and upheaval.
É o mistério profundo, é o queira ou não queira
The inscrutable nature of the world and the powerlessness one can feel when faced with its mysteries.
É o vento vetando, é o fim da ladeira
The winds of change can push and pull one in different directions, leading to moments of triumph and moments of defeat.
É a viga, é o vão, festa da cumeeira
The construction of a house or home can be a celebration of community and hard work.
É a chuva chovendo, é conversa ribeira
The rhythm and patter of rainfall can create a peaceful, introspective atmosphere.
Das águas de Março, é o fim da canseira
The end of summer and the start of autumn can represent a moment of rest and reflection.
É o pé, é o chão, é a marcha estradeira
The act of walking, of putting one foot in front of the other, can be a meditative and transformative experience.
Passarinho na mão, pedra de atiradeira
The fleeting beauty and freedom of birds in flight can be captured and contained, but the act of doing so can have violent implications.
É uma ave no céu, é uma ave no chão
The duality of existence and the interconnectedness of all living things.
É um regato, é uma fonte, é um pedaço de pão
The simple pleasures of life, like the sound of running water or the taste of fresh bread, can sustain us even in difficult times.
É o fundo do poço, é o fim do caminho
Life can lead one to moments of despair and hopelessness.
No rosto um desgosto, é um pouco sozinho
Sadness and grief can be isolating emotions.
É um estepe, é um prego, é uma conta, é um conto
The everyday realities of life, from car trouble to financial struggles, can weigh heavily on our minds.
É um pingo pingando, é uma conta, é um ponto
The small, mundane details of life can add up and become overwhelming.
É um peixe, é um gesto, é uma prata brilhando
Beauty and wonder can be found in unexpected places, like a fish in a stream or a glint of silver in the sun.
É a luz da manhã, é o tijolo chegando
The arrival of a new day and the continued construction of one's life can be cause for hope and optimism.
É a lenha, é o dia, é o fim da picada
The daily tasks and routines that make up our lives can be both exhausting and fulfilling.
É a garrafa de cana, o estilhaço na estrada
The specter of tragedy and violence can cast a long shadow over our lives.
É o projeto da casa, é o corpo na cama
Our dreams and aspirations, from building a home to living a good life, can be interrupted by illness and physical limitations.
É o carro enguiçado, é a lama, é a lama
The mechanical failures and setbacks of life can leave one feeling stuck and hopeless.
É um passo, é uma ponte, é um sapo, é uma rã
The random and unpredictable nature of life, from crossing a bridge to encountering a frog, can keep us on our toes.
É um resto de mato na luz da manhã
Even the most mundane and forgotten elements of nature can be beautiful and worthy of attention.
São as águas de março fechando o verão
The end of summer can represent a moment of closure and acceptance.
É a promessa de vida no teu coração
Despite the challenges and struggles they may face, one can hold onto the promise of life and the possibility of a better future.
Lyrics © CORCOVADO MUSIC CORPORATION, Tratore
Written by: Antonio Carlos Jobim
Lyrics Licensed & Provided by LyricFind
Valérie G
Dream Team:
Tenor Saxophone - Stan Getz
Guitar/Vocals - João Gilberto
Drums - Billy Hart
Drums - Grady Tate
Percussions - Airto Moreira
Percussions - Ray Armando
Percussions - Ruben Bassini
Bass - Steve Swallow
Piano - Albert Dailey
Vocals - Heloisa Baurque de Hollanda (Miúcha)
hee jun Jung
É pau, é pedra,
é o fim do caminho
É um resto de toco,
é um pouco sozinho
É um caco de vidro,
é a vida, é o sol
É a noite, é a morte,
é um laço, é o anzol
É peroba do campo,
é o nó da madeira
Caingá, candeia,
é o Matita Pereira
É madeira de vento,
tombo da ribanceira
É o mistério profundo,
é o queira ou não queira
É o vento ventando,
é o fim da ladeira
É a viga, é o vão,
festa da cumeeira
É a chuva chovendo,
é conversa ribeira
Das águas de março,
é o fim da canseira
É o pé, é o chão,
é a marcha estradeira
Passarinho na mão,
pedra de atiradeira
É uma ave no céu,
é uma ave no chão
É um regato, é uma fonte,
é um pedaço de pão
É o fundo do poço,
é o fim do caminho
No rosto o desgosto,
é um pouco sozinho
A stick, a stone,
It's the end of the road,
It's the rest of a stump,
It's a little alone
It's a sliver of glass,
It is life, it's the sun,
It is night, it is death,
It's a trap, it's a gun
The oak when it blooms,
A fox in the brush,
A knot in the wood,
The song of a thrush
The wood of the wind,
A cliff, a fall,
A scratch, a lump,
It is nothing at all
It's the wind blowing free,
It's the end of the slope,
It's a beam, it's a void,
It's a hunch, it's a hope
And the river bank talks
of the waters of March,
It's the end of the strain,
The joy in your heart
The foot, the ground,
The flesh and the bone,
The beat of the road,
A slingshot's stone
A fish, a flash,
A silvery glow,
A fight, a bet,
The range of a bow
The bed of the well,
The end of the line,
The dismay in the face,
It's a loss, it's a find
A spear, a spike,
A point, a nail,
A drip, a drop,
The end of the tale
A truckload of bricks
in the soft morning light,
The shot of a gun
in the dead of the night
A mile, a must,
A thrust, a bump,
It's a girl, it's a rhyme,
It's a cold, it's the mumps
The plan of the house,
The body in bed,
And the car that got stuck,
It's the mud, it's the mud
Afloat, adrift,
A flight, a wing,
A hawk, a quail,
The promise of spring
And the riverbank talks
of the waters of March,
It's the promise of life
It's the joy in your heart
É um passo, é uma ponte,
é um sapo, é uma rã
É um belo horizonte,
é uma febre terçã
São as águas de março
fechando o verão
É a promessa de vida
no teu coração
É pau, é pedra,
é o fim do caminho
É um resto de toco,
é um pouco sozinho
É um caco de vidro,
é a vida, é o sol
É a noite, é a morte,
é um laço, é o anzol
São as águas de março
fechando o verão
É a promessa de vida
no teu coração
Abraham Tellez
When I was a kid, this was part of my dad's collection. I remember being about 8 and listening to this song on a loop, one of the few memories I have from my childhood.
Now, 33, this stirs so much inside me I can't listen to it without crying. This is so beautiful.
2121 UE
whoever disliked this is clearly going through tough times. let us pray for them and happy Marcoooo😊😇
M. C.
I've listened to 1000s of pieces on YouTube, and I have never heard sound this brilliant!!! ♫ Bravo!! Obrigado!! :-D)))
renatorw1165
That's very kind of you Mike, thanks. I am particularly happy with your comment since I am trying to achieve optimezed results with a correct combination of entry level components. Merci beaucoup.
Jelly Bean
I love this version of the Jobim classic. Stan had such a deep affinity with the sound and feel of Brazilian music. It's hard to imagine the music would have had the same level of popularity throughout the entire world without his landmark Bossa recordings . I enjoy his solo so much as well. The chord progression is difficult and not easy to approach from an improviser's perspective, but he comes up with gold. Reminds me of a quote from Miles Davis, who had a similar comment about one of Stan's earlier bossa records in a blindfold listening test.
broxmouth
Jobim's masterpiece is not merely beautiful music, the lyrics are profoundly . . . . . ..
this is a musical evocation of Zen - if such ineffable philosophy can be conveyed in music and lyrics . . . which of course it can't. But this is a 'finger pointing at the moon'.
Unpredictable Axolotl
that's dao :B
but yeah whatever you wanna call it I feel it too.
Jim Usics
Perfection! Art Garfunkel does a version of this song, which is the first time I heard it. The world is upside down. 💚
아우토반92
What a wonderful voice!!!
G Grant
PURE EXCELLENCE!