![]() Other highlights include Getz’s high-speed reconfiguration of Sonny Rollins’ 50s hard bop chestnut “Airegin,” which is characterized by molten saxophone improvisations over a swirling rhythm. In sharp contrast, “When The Sun Comes Out” – a languorous slow number highlighting Getz’s lyricism – the upbeat “Like Someone In Love” and the mellow ballad “Spring Can Really Hang You Up The Most” were staples in the saxophonist’s repertoire, which he delivers with his customary aplomb. Getz’s horn exudes an exquisite fluttering quality as it flits over a lightly-swinging rhythmic backdrop. Driven by Haynes’ busy but at times almost delicate drums and Neves’ speed-walking bassline, Getz showed that he was a supreme melodist whose improvisations could be as inventive as those of fellow tenorist Sonny Rollins.Īs with “It’s Alright With Me,” the Village Gate performance of “Yesterday’s Gardenias” – a song associated with Glen Miller – is Getz’s only known recording of that particular tune. The two-hour 20-minute concert begins with a blistering version of the jazz standard “It’s Alright With Me,” which is Getz’s only known recording of a famous Cole Porter tune recorded by Ella Fitzgerald and Frank Sinatra. Though noted for his light, feathery tone – which helped to give Getz his nickname, “The Sound” – there’s a harder tone in his delivery on the Village Gate performance. Kuhn had previously worked with Coltrane (deputizing for McCoy Tyner) while the in-demand Haynes had played with Getz many times before, beginning in the early 50s.Īs the 3LP/2CD set Getz At The Gate shows in vivid detail, the group (nicknamed “The Boston Quartet”) had quickly become a slick, well-oiled machine with its rhythm section pushing Getz to new heights of expression that revealed a sense of drive, dynamism, and aggression that had hitherto been absent from his music. The rhythm section on the date comprised Getz’s then-working band: pianist Steve Kuhn, bassist John Neves, and drummer Roy Haynes. Chris Mc Gowan () Blame it on the Bossa Nova: Jazz Samba's 50th.When Getz took to the stage at New York’s Village Gate venue on Sunday, November 26, 1961, he had just finished up one of his most famous albums, Focus, recorded for Verve Records under the aegis of rising jazz producer Creed Taylor.Chris Richards ( April 19, 2012) Jazz Samba Turns 50, The Washington Post.Panel Discussion: The Jazz Samba Project, The Strathmore Music and Arts Center, Bethesda, Md.1001 Albums You Must Hear Before You Die: Revised and Updated Edition. ^ ^ Robert Dimery Michael Lydon (23 March 2010). ![]() ^ " Desafinado / Samba de Uma Nota Só" at Discogs. ![]() ^ Liner notes to Verve CD 314 521 413-2.The Penguin Guide to Jazz Recordings (9th ed.). – drums, percussionīillboard Pop Albums ( Billboard 200) (mono) Buddy Deppenschmidt – drums, percussion."Desafinado" (Antônio Carlos Jobim, Newton Mendonça) 45 rpm issue – 2:00."Bahia" (aka 'Baia') ( Ary Barroso) – 6:38." Samba de Uma Nota Só" ( Antônio Carlos Jobim, Newton Mendonça) – 6:11."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. ![]() Pierce Hall, All Souls Unitarian Church, Washington, D.C. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |