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The Girl From Ipanema 0:00 / 7:54
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The Girl From Ipanema
by Stan Getz
Olha que coisa mais linda mais cheia de graça
É ela menina que vem que passa
Num doce balanço caminho do mar
Moça do corpo dourado do sol de Ipanema
O seu balançado é mais que um poema
É a coisa mais linda que eu já vi passar
Ah, porque estou tão sozinho
Ah, porque tudo é tão triste
Ah, a beleza que existe
A beleza que não é só minha
Que também passa sozinha
Ah, se ela soubesse
Que quando ela passa
O mundo sorrindo se enche de graça
E fica mais lindo por causa do amor
Tall and tan and young and lovely
The girl from Ipanema goes walking
And when she passes Each one she passes goes, ah
When she walks, she's like a samba
That swings so cool and sways so gently
That when she passes Each one she passes goes, ah
Oh, but he watches so sadly
How can he tell her he loves her
Yes, he would give his heart gladly
But each day, when she walks to the sea
She looks straight ahead, not at him
Tall, and tan, and young, and lovely
The girl from Ipanema goes walking
And when she passes He smiles, but she doesn't see
Oh, but he sees her so sadly
How can he tell her he loves her
Yes, he would give his heart gladly
But each day, when she walks to the sea
She looks straight ahead, not at him
Tall, and tan, and young, and lovely
The girl from Ipanema goes walking
And when she passes he smiles, but she doesn't see
She just doesn't see, no she just doesn't see
But she doesn't see, she doesn't see, no she just doesn't see
Lyrics © O/B/O APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
by Stan Getz
Olha que coisa mais linda mais cheia de graça
É ela menina que vem que passa
Num doce balanço caminho do mar
Moça do corpo dourado do sol de Ipanema
O seu balançado é mais que um poema
É a coisa mais linda que eu já vi passar
Ah, porque estou tão sozinho
Ah, porque tudo é tão triste
Ah, a beleza que existe
A beleza que não é só minha
Que também passa sozinha
Ah, se ela soubesse
Que quando ela passa
O mundo sorrindo se enche de graça
E fica mais lindo por causa do amor
Tall and tan and young and lovely
The girl from Ipanema goes walking
And when she passes Each one she passes goes, ah
When she walks, she's like a samba
That swings so cool and sways so gently
That when she passes Each one she passes goes, ah
Oh, but he watches so sadly
How can he tell her he loves her
Yes, he would give his heart gladly
But each day, when she walks to the sea
She looks straight ahead, not at him
Tall, and tan, and young, and lovely
The girl from Ipanema goes walking
And when she passes He smiles, but she doesn't see
Oh, but he sees her so sadly
How can he tell her he loves her
Yes, he would give his heart gladly
But each day, when she walks to the sea
She looks straight ahead, not at him
Tall, and tan, and young, and lovely
The girl from Ipanema goes walking
And when she passes he smiles, but she doesn't see
She just doesn't see, no she just doesn't see
But she doesn't see, she doesn't see, no she just doesn't see
Lyrics © O/B/O APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
Watch artist interviews here.
Classic 1960s Bossa Nova, recorded just after the genre was grafted into American Jazz.
Antonio Carlos Jobim who was practically the inventor of Bossa Nova, wrote the song, and plays piano on this recording. Joao Gilberto, the co-creator of Bossa Nova plays guitar and sings in Portuguese on the track.
Joao's then wife Astrud Gilberto joins with a superb chorus with her under-stated trademark of vibrato-less latin sexy sound, in English. Then we get choruses from Stan Getz who takes the piece to the end. Read Full BioClassic 1960s Bossa Nova, recorded just after the genre was grafted into American Jazz.
Antonio Carlos Jobim who was practically the inventor of Bossa Nova, wrote the song, and plays piano on this recording. Joao Gilberto, the co-creator of Bossa Nova plays guitar and sings in Portuguese on the track.
Joao's then wife Astrud Gilberto joins with a superb chorus with her under-stated trademark of vibrato-less latin sexy sound, in English. Then we get choruses from Stan Getz who takes the piece to the end. Getz played with superb feeling for the Latin jazz fusion without trying to stamp too much pure American jazz onto it. So it was a respectful mix of the two separate worlds.
There was some ill feeling on the part of the Brazillian musicians in the years after Bossa Nova, as they felt the purity of their national music heritage was being "sold out" to American commercial interests. Maybe it did and probably because it lent a little on the Pop Music world for popularity but even so the genre has lasted superbly, and is considered a key part of the evolution of jazz. In fact, the album Getz/Gilberto won album of the year in 1965, and was the final jazz album to receive this award until Herbie Hancock's Joni Mitchell tribute in 2008. (Exceptions for vocal jazz winners, including Frank Sinatra, Tony Bennett, Norah Jones).
Antonio Carlos Jobim who was practically the inventor of Bossa Nova, wrote the song, and plays piano on this recording. Joao Gilberto, the co-creator of Bossa Nova plays guitar and sings in Portuguese on the track.
Joao's then wife Astrud Gilberto joins with a superb chorus with her under-stated trademark of vibrato-less latin sexy sound, in English. Then we get choruses from Stan Getz who takes the piece to the end. Read Full BioClassic 1960s Bossa Nova, recorded just after the genre was grafted into American Jazz.
Antonio Carlos Jobim who was practically the inventor of Bossa Nova, wrote the song, and plays piano on this recording. Joao Gilberto, the co-creator of Bossa Nova plays guitar and sings in Portuguese on the track.
Joao's then wife Astrud Gilberto joins with a superb chorus with her under-stated trademark of vibrato-less latin sexy sound, in English. Then we get choruses from Stan Getz who takes the piece to the end. Getz played with superb feeling for the Latin jazz fusion without trying to stamp too much pure American jazz onto it. So it was a respectful mix of the two separate worlds.
There was some ill feeling on the part of the Brazillian musicians in the years after Bossa Nova, as they felt the purity of their national music heritage was being "sold out" to American commercial interests. Maybe it did and probably because it lent a little on the Pop Music world for popularity but even so the genre has lasted superbly, and is considered a key part of the evolution of jazz. In fact, the album Getz/Gilberto won album of the year in 1965, and was the final jazz album to receive this award until Herbie Hancock's Joni Mitchell tribute in 2008. (Exceptions for vocal jazz winners, including Frank Sinatra, Tony Bennett, Norah Jones).
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