O Grande Amor
Stan Getz Lyrics
Haja o que houver
Há sempre um homem
Para uma mulher
E há de sempre haver para esquecer
Um falso amor
E uma vontade de morrer
Seja como for
Há de vencer o grande amor
Que há de ser no coração
Como um perdão
Lyrics © CORCOVADO MUSIC CORPORATION
Written by: Marcus Vinicius Da Cruz De M. Moraes, Antonio Carlos Brasileiro De A Jobim
Lyrics Licensed & Provided by LyricFind
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Stan Getz (Stanley Gayetzky, February 2, 1927 Philadelphia – June 6, 1991 Malibu, California) was an American jazz tenor saxophone player. Known as "The Sound" because of his warm, lyrical tone, Getz's prime influence was the wispy, mellow tone of his idol, Lester Young.
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. Read Full BioStan Getz (Stanley Gayetzky, February 2, 1927 Philadelphia – June 6, 1991 Malibu, California) was an American jazz tenor saxophone player. Known as "The Sound" because of his warm, lyrical tone, Getz's prime influence was the wispy, mellow tone of his idol, Lester Young.
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.
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. Read Full BioStan Getz (Stanley Gayetzky, February 2, 1927 Philadelphia – June 6, 1991 Malibu, California) was an American jazz tenor saxophone player. Known as "The Sound" because of his warm, lyrical tone, Getz's prime influence was the wispy, mellow tone of his idol, Lester Young.
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.
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Dicedude
A very rough translation:
Whatever there is,
There is always a man,
For a woman
And she will always be there to forget,
A false love
And a will to die.
Anyway
The great love must overcome,
What is to be in the heart,
As a pardon for those who cried.
Gerard Beaubrun
This track although not as popular as Girl From Ipanema, strikes me as emotion in its most earnest form.
This is love in its entirety. Powerfully rendered in a gentle envelope. Cries and shouts that never distorts its message, murmurs that only hints to fluvial weeping and piano notes that sparkle in their celebration of passion.
Great love can be beautiful, emancipating. True can also reach the deep recesses of our soul and shake our foundation to point where we are left bare, authentic beings seeking connections and expression. But at times its beauty and ever expansive state can cause an icy wave to inhabit the hart, plunging us in melancholy, regret... prisoners of what ifs and victims of the brashly undertaken
Passion in his entirety is what is being treated here by masters who have loved, lost, regained.
In a wonderfully groove and a minimally rendered bossa nova, Joao's voice murmurs what seems like a loss or the abandon of one's soul to a love so great, it has to be put to life as Grande Amor. He is so ever careful to not bruise the groove, so softly weaving in an out of the compass led by the guitar. He is the lover the pleads, the lover that remembers, the lover that longs.
Stan Getz never disappoints. Without having to showcase his skills and going through immense runs,. In deep respect for the song and he never aims to distract. He interprets what could have the next chorus, the next paragraph unheard but resonating in this invisible realms of perfect organic melodies.
He sings and at times uses his instrument to cry out his plea, shout his love. His brand of love is the akin to the strength that deceptively hides itself in a powerfully clenched fist. Powerful but...expressed gently. Just like words... Swords forged in the fire of words assembled for wordsmiths, blacksmiths in love.
Lastly you have the perennial minimalist Jobim who never fails to remind us that a beautiful melody needs no more embellishment than a variation of it. Some of Mozart's most beautiful variations(Alla Turca or Ah vous dirais je maman) are simple celebrations of beautiful melodies that sparkle and explore the deep end of the emotional specture, sad, happy, minor major, energetic indolent. Here Jobim's solo almost caresses the melody by reinstating and simply extending its voice.
beautiful done, beautifully said, emotionally rendered, emotionally felt. Thus is the gift that these masters have left us
joelbyrne
Haja o que houver,
Há sempre um homem, para uma
mulher
E há de sempre haver para esquecer, um falso amor e uma vontade
de morrer.
Seja comofor há de vencer o grande amor, que há de
ser no coração,
como perdão pra quem chorou.
B P
Haja o que houver,
Há sempre um homem, para uma
mulher
E há de sempre haver para esquecer, um falso amor e uma vontade
de morrer.
Seja comofor há de vencer o grande amor, que há de
ser no coração,
como perdão pra quem chorou.
Just for reference.
HoriviS-PictureS.Com
La fin d'un long voyage pour un monument de la musique qui nous a tout laissé en héritage.
Le père de la bossa nova João Gilberto, de son nom complet João Gilberto Prado Pereira de Oliveira.
Il nous a tant fait voyager par ses ballades musicales que l'évasion avait fini par avoir juste un goût de paradis.
À lui seul, il était la vitrine de la musique Brésilienne.
Charles-Christian Bimpoudi
Pietra Sureda
No matter what happens
there is always a man
for a woman
and there will always be
to forget
a fake love
and a will to die
for whatever there is
great love has to win
and has to be like forgiveness
for someone who has cried before
rott10bird
This is possibly THE most beautiful song I have ever heard. I first heard it in 1964 and promptly purchased the album. I don't know any of the words, but just listening to it causes so many emotions to surface. It was the last song I listened to before I was to go into the Air Force (the next day) in 1967. I was alone, it was raining outside and I had a sense of sadness that I was leaving home - this song still brings back that day and how I was feeling.
Fernando Bezerra Santa Rosa
@Dicedude Excelente tradução.
Daniel Perchey
1
Angie Martin
@A D yesssss 🎵🥰🙌🏽🙌🏽🙌🏽
A D
I accidentally listened this song and I think I have just discovered a new planet
Dicedude
A very rough translation:
Whatever there is,
There is always a man,
For a woman
And she will always be there to forget,
A false love
And a will to die.
Anyway
The great love must overcome,
What is to be in the heart,
As a pardon for those who cried.
Wallace Freitas
Descanse em paz Joao Gilberto. Sua música vivera pra sempre no coracao de cada brasileiro, pois graças a musicos como você, nossa cultura foi levada ao mundo inteiro..
Xavier Vabre
Graaaaaaaande Artista. O Artista. Une voix veloutée, en total accord avec la musique, un sens de la composition á lui
Fernandes Jose
Wallace Freitas cada brasileiro nao so no mondu inteiro
Ricardo Hernandez
Eu não sou brasileiro Cara, mais o mestre João foi minha fonte de inspiração para aprender a lingua que agora é minha terceira Lingua. Parabéns a João, que agora canta no céu perto de Deus.