popular that the title Big Band Bossa Nova was used for three other 1962 albums: by Quincy Jones, Oscar Castro-Neves, and Enoch Light. Jazz Samba with Charlie Byrd sold a million copies and received positive reviews in United States. However, the record labels' rush to exploit the new Brazilian sound led to musicians introducing errors in melody and harmony in the music. For example, the sheet music of "Desafinado" as published in The New Real Book (1995)—a compilation of jazz and bossa nova songs—is the Charlie Byrd version from Jazz Samba, which contains many errors. There was a third Getz release, Jazz Samba Encore!, featuring Brazilian singer and guitarist Luiz Bonfá. The album sold well, but the "trilogy" did not satisfy the producers commercially to compete with Elvis Presley, Bobby Darin, Pat Boone, and Henry Mancini. On November 21, 1962, the first North American concert of Bossa Nova – the New Brazilian Jazz – was presented at Carnegie Hall by João Gilberto, Tom Jobim, Bonfá, Roberto Menescal and Sérgio Mendes among others. According to critic Liliana Harb Bollos, the goal of this concert was to "spread música popular brasileira in the capital of jazz". By this time bossa nova had declined in Brazil, but continued to enjoy popularity in other countries. After the Carnegie Hall concert, record producer Creed Taylor wanted Jobim and Gilberto to meet Getz for an "historical documentation" of the genre's style. This happened in 1963 with Getz/Gilberto, released five years after the birth of bossa nova in Brazil. Recording and composition The recording sessions commenced on March 18, 1963, at A&R Recording Studios in New York City and were completed on the following day. Phil Ramone, who owned A&R Recording Studios, was the album's sound engineer. Produced by Creed Taylor, the album was released by Verve Records. The rhythm section backing Getz was Jobim on piano, Sebastião Neto (pt) on bass and Milton Banana on drums, (Neto was not credited after being hired by another record label, Audio Fidelity. As a result, the double bassist credited on Getz/Gilberto is Tommy Williams, Getz's regular bassist. Williams, however, did not perform at the recording sessions.) The rhythm section plays in a binary () time signature, which is typical for samba although Getz used quaternary time signature (common time). Astrud Gilberto, who had never sung professionally before was featured on two tracks, "The Girl from Ipanema" and "Corcovado (Quiet