☆ Track-12

Personnel includes:
Antonio Carlos Jobim (arranger, vocals, guitar, piano, electric piano);
Claus Ogerman, Deodato (conductor, arranger);
Bill Hitchcock (conductor);
Cesar Camargo Mariano (arranger, piano, electric piano);
Jacques Morelenbaum (arranger, cello);
Joao Gilberto (vocals, guitar);
Elis Regina, Astrud Gilberto, Maria Toledo (vocals);
Ray Beckenstein (alto saxophone, flute, piccolo);
Bud Shank (alto saxophone, flute);
Jerry Dodgian (alto saxophone);
Stan Getz, Joe Henderson (tenor saxophone);
Stu Williamson (trumpet);
Jimmy Cleveland, Urbie Green, Milt Bernhart (trombone);
Luiz Candido Da Costa, Antonio Candido Sobrinho, Joseph Singer (French horn);
Romeo Penque, Jerome Richardson (flute, piccolo);
Paulo Guimaraes Ferreira, Leo Wright, Hermeto Pascoal (flute);
Eduardo Morelenbaum, Lucia Morelenbaum Gjorup (clarinet);

Joao Daltro De Almeida, Bernardo Bessler, Michel Bessler, Jorge Faini, Virgilio Arraes Filho, Azik M.
Geller, Carlos Eduardo Hack, Walter Hack, Luiz Carlos Campos Marques, Joao Jeronimo De Menezes F, Giancarlo Pareschi, Francisco Perrotta, Pascoal Perrotta, Jose Alves Da Silva, Walter Gomes De Souza, Alfredo Vidal, Bernard Eichen, Lewis Eley, Paul Gershman, Emanuel Green, Louis Harber, Julius Held, Leo Kruczek, Harry Lookofsky, Joseph Malignaggi, Gene Orloff, Raoul Poliakin, Irving Spice, Louis Stone (violin);

Jesuina Noronha Passaroto, Edwardo Roberto Pereira, Hindenburgo V. Borges Pereira, Frederick Stephany (viola);
Mario Eymard Malard, Jorge Kundert Ranewsky, Alceu De Almeida Reis, Luiz Fernando Zamith, Abe Kessler, Charles McCracken, George Ricci, Harvey Shapiro (cello);
Joao Donato (piano);
Oscar Castro-Neves (acoustic guitar, guitar);
Helio Delmiro (electric guitar);
Paulo Jobim, Luiz Bonfa, Pat Metheny (guitar);
Denner De Castro Campolina, Ricardo Raymundo Cendido, Tommy Williams, Luizao Maia, Ron Carter, Sebastiao Neto, Joe Mondragon, George Duvivier, Charlie Haden (bass);
Dom Um Romao, Bobby Rosengarden, Claudio Slon, Jose Carlos (drums, percussion);
Paulo Braga, Paulo Ferreira, Al Foster (drums);
Rubens Ohana De Miranda, Milton Banana (percussion).

The New Band: Paulo Jobim (arranger, vocals, guitar);
Danilo Caymmi (vocals, flute);
Maucha Adnet, Simone Caymmi, Ana Lontra Jobim, Elizabeth Jobim, Paula Morelenbaum (vocals);
Jacques Morelenbaum (cello);
Sebastiao Neto (bass);
Paulo Braga (drums).

Marty Paich’s Orchestra includes: Marty Paich (conductor, arranger);
Milt Bernhart (trombone);
Bud Shank (flute);
Joao Donato (piano);
Joe Mondragon (bass).

Producers: Paulo Jobim, Jacques Morelenbaum (disc 1, track 1);
Creed Taylor (disc 1, tracks 2, 4-10, 12-22; disc 2, tracks 1-15; disc 3, tracks 1-2, 4-9, 11-17);

Aloysio De Oliveira (disc 1, tracks 3, 11, 23; disc 3, track 10);

Richard Seidel, Don Sickler (disc 3, track 3).

Compilation producer: Oscar Castro-Neves.
Recorded between 1963 and 1994.
Includes liner notes by Oscar Castro-Neves, Sergio Cabral, Richard Seidel and Gene Lees.

THE MAN FROM IPANEMA was nominated for a 1997 Grammy Award for Best Recording Package – Boxed.

First off, this is one of the most beautifully packaged box sets ever, a spiral-bound book of heavy pastel-colored paper cutouts mimicking the landscape of Antonio Carlos Jobim’s native Brazil. It’s a simply gorgeous object.

The music contained on the three discs inside is similarly magnificent, but be warned: THE MAN FROM IPANEMA is not for the casual listener. The discs are set up almost like a textbook tracing the development of Jobim’s music, and by extension, the growth of bossa nova, the blend of Brazilian samba and American cool jazz that Jobim pretty much single-handedly invented.

Disc one collects vocal interpretations of Jobim’s songs, including recordings by Astrud Gilberto, Joao Gilberto and Elis Regina as well as Jobim’s own inimitable mumble.

Disc two features instrumental interpretations of the same songs, taken largely from the largely orchestral WAVE, TIDE and THE COMPOSER OF DESAFINADO albums.

Disc three goes a step farther, placing three or four different versions of each of five of Jobim’s best-known songs, showing how Jobim’s unfailingly melodic tunes could be adapted for a variety of settings.

With its text-filled book and scholarly track selection, THE MAN FROM IPANEMA is like a college course in bossa nova.