Jazz Samba

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…

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…

Here's some more bossa nova from Stan Getz when the bloom was still on the first Brazilian boom. This time, however, on his third such album, Getz relies mostly upon native Brazilians for his backing. Thus, the soft-focused grooves are considerably more attuned to what was actually coming out of Brazil at the time. Two bona fide giants, Antonio Carlos Jobim and Luiz Bonfá (who gets co-billing), provide the guitars and all of the material, and Maria Toledo contributes an occasional throaty vocal. Getz injects more high-wailing passages into his intuitive affinity for the groove, even going for some fast bop on "Un Abraco No Getz," and Bonfá takes adept care of the guitar solos against Jobim's rock-steady rhythm. Clearly Jobim's songwriting contributions - "So Danco Samba," "How Insensitive," and "O Morro Nao Tem Vez" - would have the longest shelf life…

Bud Shank & Clare Fisher - Bossa Nova Jazz Samba (1962) {2013 Japan Jazz & Bossa Nova Best & More Series CD07of8}
EAC rip (secure mode) | FLAC (image)+CUE+LOG -> 213 Mb | MP3 @320 -> 70 Mb
Full Artwork @ 300 dpi (png) -> 36 Mb | 5% repair rar
© 1962, 2013 Pacific Jazz / Universal Japan | TOCJ-66627 | 24bit remaster
Jazz / Bossa Nova / Cool / Latin Jazz / Hard Bop

Reissue with the latest 24bit remastering. Features original cover artwork. Comes with a descripton in Japanese. A sublime little set all the way through – an early 60s date from the west coast scene – and one that was almost as important to that side of the country as the Verve bossa records were to New York! Bud Shank's in the lead on alto sax – no flute at all this time around – blowing sharp and soulfully, in a way that's even more deft than most of his other albums! But the equal star here is the young Clare Fischer – who plays piano in the group, and also contributed a host of original tunes to the set – fresh numbers that are way different than the usual "bossa-ized" standards, or American remakes of Brazilian classics. Ralph Pena is a key member of the group on bass – and Larry Bunker plays some vibes as well. Titles include "Joao", "Pensativa", "Samba Guapo", "Samba Da Borboleta", and "Que Mais?".