Most die-hard Brazilian music fans would argue thatGetz/Gilberto, the iconic 1964 album featuring “The Girl from Ipanema,” is not the best bossa nova record. Yet we’ve all heard “The Girl from Ipanema” as background music in a thousand anodyne settings, from cocktail parties to telephone hold music. So how didGetz/GilbertobecometheBrazilian album known around the world, crossing generational and demographic divides?

Bryan McCann traces the history and making ofGetz/Gilbertoas a musical collaboration between leading figure of bossa nova Joo Gilberto and Philadelphia-born and New York-raised cool jazz artist Stan Getz. McCann also reveals the contributions of the less-understood participants (Astrud Gilberto’s unrehearsed, English-language vocals; Creed Taylor’s immaculate production; Olga Albizu’s arresting, abstract-expressionist cover art) to show how a perfect balance of talents led to not just a great album, but a global pop sensation. And he explains howGetz/Gilbertoemerged from the context of Bossa Nova Rio de Janeiro, the brief period when the subtle harmonies and aching melodies of bossa nova seemed to distill the spirit of a modernizing, sensuous city.