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.
Eu e Você
Stan Getz Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
E podem mesmo falar mal, ficar de mal que não faz mal
Podem preparar milhões de festas ao luar
Que eu não vou ir, melhor nem pedir, que eu não vou ir, não quero ir
E também podem me intrigar e até sorrir e até chorar
E podem mesmo imaginar o que melhor lhes parecer
E que é uma pena para quem me conheceu
Eu sou mais você e eu
Podem espalhar que estou cansado de viver
E que é uma pena para quem me conheceu
Eu sou mais você e eu
The lyrics of Stan Getz Quartet's song "Eu E Voce", which means "You and Me" in English, convey a powerful message of independence and self-assurance. The lyrics speak of the singer's refusal to be swayed by the opinions or expectations of others, no matter how hard they try to sway him. He refuses to attend parties or gatherings, even when they are specifically directed at him, and he refuses to let other people's imaginations or rumors dictate how he lives his life. He is tired of living, but he sees himself as much more than just an individual - he is a part of a bigger picture that encompasses everything around him, including the person he addresses in the song.
The song is an ode to individuality and to the strength that comes from being confident in oneself. It tells the listener to be their own person, to not worry too much about what others think, and to be true to themselves, no matter what others may say or do.
Line by Line Meaning
Podem me chamar e me pedir e me rogar
People can call, ask, and beg me about things
E podem mesmo falar mal, ficar de mal que não faz mal
Even if people speak ill of me or hold grudges, it doesn't affect me
Podem preparar milhões de festas ao luar
People can plan millions of moonlit parties
Que eu não vou ir, melhor nem pedir, que eu não vou ir, não quero ir
However, I won't attend, so it's better not to ask me because I don't want to go
E também podem me intrigar e até sorrir e até chorar
People can try to intrigue me or even make me laugh or cry
E podem mesmo imaginar o que melhor lhes parecer
They are free to imagine whatever they want
Podem espalhar que estou cansado de viver
People can spread rumors that I'm tired of living
E que é uma pena para quem me conheceu
And it's unfortunate for those who knew me
Eu sou mais você e eu
But in reality, I am more than just myself; I am also with someone else
Podem espalhar que estou cansado de viver
People can spread rumors that I'm tired of living
E que é uma pena para quem me conheceu
And it's unfortunate for those who knew me
Eu sou mais você e eu
But in reality, I am more than just myself; I am also with someone else
Lyrics © Universal Music Publishing Group, Spirit Music Group, Warner Chappell Music, Inc.
Written by: Carlos Eduardo Lyra Barbosa, Vinicius De Moraes
Lyrics Licensed & Provided by LyricFind
@andresreallopez764
Who plays the piano? Gary Burton?
@wiraramadhan2227
Podem me chamar e me pedir e me rogar
E podem mesmo falar mal, ficar de mal que não faz mal
Podem preparar milhões de festas ao luar
Que eu não vou ir, melhor nem pedir, que eu não vou ir, não quero ir
E também podem me intrigar e até sorrir e até chorar
E podem mesmo imaginar o que melhor lhes parecer
Podem espalhar que estou cansado de viver
E que é uma pena para quem me conheceu
Eu sou mais você e eu
Podem espalhar que estou cansado de viver
E que é uma pena para quem me conheceu
Eu sou mais você e eu