The original master tapes for this title had not been used since 1980 previous to this reissue. Also, for this Analogue Productions reissue the decision was made to master and present this album as it was originally mixed to master tape. With only one exception - the Speakers Corner reissue - all versions of this title to date have had the channels incorrectly reversed. And again, those reissues you've heard up until now definitely still breathy, warm and rich were made from something less than the master. Prepare to hear the veil removed.

In 1964, with the album present in nearly every household in America, selections such as The Girl From Ipanema and Desafinado shot up the charts as the jazz/samba or bossa-nova craze went from fad to phenomenon. Tenor-man Stan Getz, with his velvety breathy tone, had already established his jazz credentials as a member of the 'Four Brothers' sax section with Woody Herman, and then by fronting classic quartet and quintets on recordings for Roost and Clef.

Astrud Gilberto says that her husband, Joao, informed Stan Getz that she "could sing at the recording." Creed Taylor recalls that it took Getz's wife, Monica, to get both Astrud and Joao into the recording studio; Mrs. Getz had a sense that Astrud could make a hit. And Getz himself is on record saying that he insisted on Astrud's presence over the others' objections. So who's right? What does it matter ? The Gilbertos, Getz and the legendary Antonio Carlos Jobim followed up the bossa nova success of Jazz Samba with this, the defining LP of the genre. With one of the greatest hit singles jazz has ever known each one who hears it goes "Ahhh !"