"Samba Triste" ( Baden Powell, Billy Blanco) – 4:47."O Pato" (Jayme Silva, Neuza Teixeira) – 2:31."Samba Dees Days" ( Charlie Byrd) – 3:34. " Desafinado" ( Antônio Carlos Jobim, Newton Mendonça) - 5:51.The painting on the cover is by Olga Albizu. Robert Dimery included Jazz Samba in his book 1001 Albums You Must Hear Before You Die. "Desafinado" was also nominated for the Grammy Award for Record of the Year, while Jazz Samba was nominated for the Grammy Award for Album of the Year. Stan Getz won the Grammy Award for Best Jazz Performance of 1963 for "Desafinado", and went on to make many other bossa nova recordings, notably with João Gilberto and Astrud Gilberto and the popular song " The Girl from Ipanema". Charlie Byrd wrote one song, "Samba Dees Days", while the rest were by Brazilian composers. Two songs, " Desafinado" (Off Key or Out of Tune) and " Samba de Uma Nota Só" (One Note Samba) were composed by Antonio Carlos Jobim and were released as singles in the U.S. The album was recorded at All Souls Unitarian Church in Washington, D.C., on Februand released in April of that year. They were joined by two drummers: Buddy Deppenschmidt and Bill Reichenbach. Getz and Byrd were accompanied by two bassists: Keter Betts and Joe Byrd, Charlie Byrd's brother who also played guitar. Stan Getz was the featured soloist and the tracks were arranged by Charlie Byrd, who had first heard bossa nova during a tour of Brazil in 1961. Jazz Samba signaled the beginning of the bossa nova craze in America. Jazz Samba is a bossa nova album by Stan Getz and Charlie Byrd released by Verve Records in 1962. No prizes for spotting a 21-year old Gary Burton – a jazz-vibraphone genius in waiting – in front of the baffling snow scene behind this lazy summer music.Pierce Hall, All Souls Unitarian Church, Washington, D.C. The jazz-bossa style is mostly remembered for Girl from Ipanema (a Jobim song performed by Gilberto's wife, Astrud, and accompanied by Getz) – seen here on a memorably cheesy scene from the 1964 movie Get Yourself a College Girl. The notoriously irascible Getz fell out with Byrd over royalties and their partnership stalled, but the music stayed on a roll for a couple of years, passing through various mutations including a big band that mostly sounded unsuited to the idiom's delicacy, despite some haunting interplay between Getz and trombonist Bob Brookmeyer. The pair persuaded Verve Records to get behind the recording that became Jazz Samba.ĭesafinado (see the clip above) was to be Jazz Samba's most iconic tune, but the album – almost all of which was composed by Brazilians – glowed with memorable material, including Jobim's and Newton Mendonça's Samba de Una Nota So (One Note Samba), the shimmering Bahia, and the wistful Samba Triste. On his return, he played the music to Getz, who immediately realised that the Brazilian song-forms and swaying, beach-sauntering rhythms would perfectly complement his sensuous sound and devotion to understatement. Byrd travelled to Brazil in 1961 on a state department tour, and was entranced by bossa nova. Jobim's and Gilberto's massaging of old samba forms became known as "bossa nova" – meaning "new wave" or "new trend".Īmerican guitarist Byrd was a former classical player who had been taught by Andrés Segovia, and who continued to use finger-style and an acoustic Spanish guitar in jazz. But the clincher was the pulse – the hypnotic rhythms of traditional Brazilian dance music as urbanised, slowed down, and subtly reshuffled by jazz-influenced Brazilian composers Antônio Carlos Jobim and guitarist/vocalist João Gilberto. Getz's distinctively soft and tender tenor-sax sound – widely admired, even by players much edgier than him, including John Coltrane – was as seductive as a whisper, and his natural lyricism often allowed him to improvise better themes than the ones he was playing on. In its soft textures, low volumes and unobtrusively chilled-out feel, it was a throwback to the successful 'cool-school' of the previous decade, which reached a wide public by smoothing some of the rough edges off bebop and hard-bop. Jazz Samba's magic formula wasn't hard to identify. Getz, who had been a teenage star of the Woody Herman Big Band in the 40s and the much-imitated champion of a lyrical sound in the 50s, won a Grammy for his sublime performance. Half a million copies were sold within 18 months, making it the only jazz album ever to top Billboard's pop chart. With 1962 album Jazz Samba, saxophonist Stan Getz and acoustic guitarist Charlie Byrd created a new jazz sensation. And that was the bossa nova craze of the early 60s. There was one more throw of the dice left for old-fashioned jazz lyricism before the Beatles et al changed the musical landscape, and ensured that jazz would never return to its pre-eminent place in popular music.
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