Charlie Byrd puts his unique Bossa Nova spin on classic hits of the 1960s. Includes songs by Simon & Garfunkel, Jimmy Webb & Perry Como as well as tracks from popular film soundtracks of the time.
Romanticism, Afro-Latin voicings and classical stylings are the three primary components of this Charlie Byrd's release. It blends his playing with that of Carlos Barbosa-Lima, Jeffrey Meyerriecks, Myrna Sislen and Larry Snitzler, and the quintet members expertly complement and contrast each other on a program of American popular standards, compositions by Vivaldi, Mozart, Antonio Carlos Jobim and three superb interpretations of the Bix Beiderbecke masterpieces "In A Mist," "Candlelights" and "In The Dark." It's more structured than improvisatory, but the playing is so compelling and exquisite that it should appeal to both guitar lovers and music fans generally.
The first of at least four meetings on record between the great Brazilian-styled guitarists Laurindo Almeida and Charlie Byrd, this very logical matchup (in a quartet with bassist Bob Magnusson and percussionist Milt Holland) is quite succesful. The music is tightly arranged with very little improvisation but the beauty of the two guitarist's distinctive tones and the colorful melodies makes this a rewarding set. From "Carioca" and Jobim's "Stone Flower" to several Brazilian classical pieces and even "Don't Cry For Me Argentina," everything works.
The first of at least four meetings on record between the great Brazilian-styled guitarists Laurindo Almeida and Charlie Byrd, this very logical matchup (in a quartet with bassist Bob Magnusson and percussionist Milt Holland) is quite succesful. The music is tightly arranged with very little improvisation but the beauty of the two guitarist's distinctive tones and the colorful melodies makes this a rewarding set. From "Carioca" and Jobim's "Stone Flower" to several Brazilian classical pieces and even "Don't Cry For Me Argentina," everything works.
Collectables combines two very different back-to-back recordings made by guitarist Charlie Byrd for Columbia in the mid-'60s. Travellin' Man (issued in 1965) is a live gig at the Showboat in Washington D.C., a club he was playing in - and owned - 36 weeks out of the year. He is featured with his bass playing brother Joe, and the rather astonishing drummer Bill Reichenbach. The program consists of everything from originals like the title cut and the country and bluegrass tinged opener "Mama I'll Be Home Someday" to Michel Legrand's "I Will Wait for You." With tunes like the Richard Rodgers and Stephen Sondheim standard "Do I Hear a Waltz," Billy Strayhorn's "U.M.M.G.," and Django Reinhardt's "Nuages" sandwiched in between. It' is a hard swinging date where Byrd, a great melodic improviser, turns original arrangements inside out and pours his love for bossa and blues into everything he plays…
The first of at least four meetings on record between the great Brazilian-styled guitarists Laurindo Almeida and Charlie Byrd, this very logical matchup (in a quartet with bassist Bob Magnusson and percussionist Milt Holland) is quite succesful. The music is tightly arranged with very little improvisation but the beauty of the two guitarist's distinctive tones and the colorful melodies makes this a rewarding set. From "Carioca" and Jobim's "Stone Flower" to several Brazilian classical pieces and even "Don't Cry For Me Argentina," everything works.
The first of at least four meetings on record between the great Brazilian-styled guitarists Laurindo Almeida and Charlie Byrd, this very logical matchup (in a quartet with bassist Bob Magnusson and percussionist Milt Holland) is quite succesful. The music is tightly arranged with very little improvisation but the beauty of the two guitarist's distinctive tones and the colorful melodies makes this a rewarding set. From "Carioca" and Jobim's "Stone Flower" to several Brazilian classical pieces and even "Don't Cry For Me Argentina," everything works.
Partly because of its Brazilian collaborators and partly because of "The Girl From Ipanema," Getz/Gilberto is nearly always acknowledged as the Stan Getz bossa nova LP. But Jazz Samba is just as crucial and groundbreaking; after all, it came first, and in fact was the first full-fledged bossa nova album ever recorded by American jazz musicians. And it was just as commercially successful, topping the LP charts and producing its own pop chart hit single in "Desafinado." It was the true beginning of the bossa nova craze, and introduced several standards of the genre (including Ary Barroso's "Bahia" and Antonio Carlos Jobim's "Desafinado" and "Samba de Uma Nota Só" [aka "One Note Samba"]). But above all, Jazz Samba stands on its own artistic merit as a shimmering, graceful collection that's as subtly advanced - in harmony and rhythm - as it is beautiful…