A distinguished member of the Better Records Jazz Hall of Fame.
Yet another wonderful Getz Samba record, the third in the series. Some of our faourite music has this Samba syncopation: Sergio Mendes, first and foremost of course, but also Airto, and all the wonderful Getz albums from this period. Their enchanting Brazilian rhythms make their music fun.
Thanks go to all the engineers involved in this recording:
In 2006 we wrote:
This is the first copy of this record that we’ve found that was clean enough to put up on the site. Don’t expect to see another one any time soon.
We weren’t kidding. Here it is, a genuine Hot Stamper pressing, only nine years later!
Stan Getz is a truly great tenor saxophonist, the cool school’s most popular player. This album is all the supporting evidence one would ever need to prove the point. All his samba albums from this era are worth owning. We have yet to hear any Getz record from the ’70s or later that impressed us musically or sonically. If you know of any good ones drop us a line.
Big, rich and tubey, by the second track the presence is even better – listen for it.
A wide stage and rich sound (in the lovely vocal especially). Getz’s sax is dynamic all get out as usual.
When you hear Maria Toledo singing that opening track on side two you will know you are in the presence of greatness.
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, and though the album didn’t sell as well as its two predecessors, it certainly helped break these tunes into the permanent jazz repertoire. Avid bossa nova fans will certainly treasure this album for the lesser-known Bonfá tunes.