El tenor de tono fresco se escucha en su innovadora colaboración con el guitarrista Charlie Byrd (que resultó en el éxito de ventas "Desafinado"), y se presenta con una gran banda arreglada por Gary McFarland (presentando "No More Blues" y "One Note Samba"), es protagonista en grabaciones con los guitarristas Laurindo Almeida y Luiz Bonfa, y se escucha en el famoso encuentro con el compositor y pianista Antonio Carlos Jobim, el guitarrista João Gilberto y el cantante Astrud Gilberto, que dio como resultado el gran éxito "The Girl From Ipanema"." Este conjunto esencial se completa con tres actuaciones inéditas de un concierto en el Carnegie Hall de 1964, y concluye con un remake de "The Girl From Ipanema". NYC,15 June 1962."Este set de 4 CDs contiene casi todas las sesiones clásicas de bossa nova de Stan Getz, cinco maravillosos y diversos LPs (Jazz Samba, Big Band Bossa Nova, Jazz Samba Encore, Stan Getz/Laurindo Almeida, y Getz/Gilberto). (2) Doc Severinsen, Bernie Glow (t) Clark Terry (flh) Bob Brookmeyer (vtb) Tony Studd (btb) Ray Alonge (frh) Ray Beckenstein, Arthur Clarke (cl) Jerry Sanfino, Eddie Caine (f) Romeo Penque (bcl) Hank Jones (p) Jim Hall (elg) Tommy Williams (b) Johnny Rae (d) Gary Costa, José Paulo (pc) Gary McFarland (arr). (1) Charlie Byrd (g) Gene Byrd (g, b) Keter Betts (b) Buddy Deppenschmidt, Bill Reichenbach (pc). (1) Desafinado Samba Dees Days O Pato Samba Triste Samba De Uma Nota So E Luxo So Baia (2) Manha De Carnaval Balanco No Samba Melancolico Entre Amigos Chega De Saudade Noite Triste Samba De Uma Noto So Bim Bom Desafinado (3) Dr. A bonus is his Big Band Bossa Nova where Gary McFarland’s writing achieves provocative tone colours from a brass and woodwinds ensemble lacking any saxophones. Inspired by a rhythm section with two percussionists Stan creates one of his most extrovert solos of the set here. The deceptively simple One Note Samba (apart from the tricky middle-eight) was unusual for a genre characterised by subtle melodies. Triste means Sad and on Samba Triste the principals create a profound feeling of melancholy that never descends into pathos. To be fair to the guitarist his solos elsewhere have a melodic charm perfectly in keeping with the idiom. Charlie Byrd sounds uncomfortable here but Stan rescues the situation with a brisk, authoritative statement. On Desafinado the group seem to have decided on a montuno for the blowing choruses instead of using Jobim’s intriguing modulations. Getz would have been familiar with the 1945 Bing Crosby hit Baia, but the rest of this material was quite new to him. Even Coleman Hawkins dipped his toe into the water and when it eventually came to Paul Desmond’s turn in 1964 he wittily decided to call his effort Bossa Antigua or Old Thing. Bossa nova became known as the New Thing and Ted Gioia in his Jazz Standards says “After Getz’s success almost every member of Local 802 jumped on the bossa nova bandwagon”. They were familiar with the samba so that was how the recording was marketed and Jazz Samba eventually reached number 1 on the Billboard pop charts. Producer Creed Taylor apparently decided that “an American audience wouldn’t know what a bossa nova is”. This was the album that began the public’s love affair with the seductive rhythms and harmonies of the bossa nova although that term was not mentioned in the original sleeve-note.
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