![]() ![]() ![]() This is such a playful recording, and it makes this quite complex music appear to seamless to play. This particular TV appearance greatly helped exposing the music genre to the broader North American audience.įor guitarists, this is a great introduction to Bossa nova guitar playing - both to the standard picking rhythm and to some typical chord voicings used in the genre. This is a transcription of the wonderful performance of Jobim's Bossa nova-standard "One Note Samba" by Caterina Valente and Dean Martin on The Dean Martin Show. Writers: Music by Antônio Carlos Jobim / Letras de Newton Mendonça (1960) Performance: The Dean Martin Show (Season 2, 1966-67) Theme from “Dr.Song: Samba de Uma Nota Só ( One Note Samba) Samba De Uma Nota So (One Note Samba) (Jobim-Mendonça) 3:25ġ7. Noite Triste (Night Sadness) (McFarland) 4:55ġ5. Chega De Saudade (No More Blues) (Jobim-De Moraes) 4:15ġ4. Entre Amigos (Sympathy Between Friends) (McFarland) 2:57ġ3. Melancolico (Melancholy) (McFarland) 4:40ġ2. Balanço No Samba (Street Dance) (McFarland) 3:01ġ1. Manha De Carnival (Morning of Carnival) (Bonfa) 5:46ġ0. Samba De Uma Nota So (One Note Samba) (Jobim-Mendonça) 6:10Ġ9. O Pato (The Duck) (Silva-Teixeira) 2:29Ġ5. Desafinado (Jobim-Mendonça) Hit Single Version 1:59Ġ3. Joe Ferrante, and Nick Travis (tp) replace Glow and Terry Willie Dennis (tb) replacesīrookmeyer and Walt Levinsky (cl) replaces Beckenstein, who subs for Sanfino on flute Romeo Penque (b-cl) Hank Jones (p) Jim Hall (g) Tommy Williams (b) Johnny Ra (d Ray Alonge (frhn) Eddie Caine (a-fl) Jerry Sanfin (fl) Arthur “Babe” Clarke, Ray Beckenstein (cl) STAN GETZ (ts) with Orchestra Arranged & Conducted by Gary McFarlandĭoc Severinsen, Bernie Glow (tp) Clark Terry (fkhn) Bob Brookmeyer (v-tb)Tony Studd (b-tp) Recorded at Pierce Hall, All Souls Unitarian Church, Washington D.C., February 13, 1962 (9-16) from the album Big Band Bossa Nova (Verve V6-8494)īUDDY DEPPENSCHMIDT, BILL REICHENBACH (d) (2-8) from the album Jazz Samba (Verve V6-8432) The difference was his success - and that’s show business. Yet a year before, Stan Getz had been playing every bit as brilliantly, and as sensitively as in these albums. The first follow-up, B ig Band Bossa Nova” with Gary McFarland, was in the charts, too, for several weeks. Sparked by the Getz-Byrd smash album, the bossa nova trend continued to build with more albums. ![]() In a culminating irony, he returned to top place in the 1962 Down Beat Readers’ Poll. Suddenly, Getz was the only jazz saxophonist in the charts, and Desafinado made the Billboard Top 20 for pop singles and won a “best solo jazz performance” Grammy for Getz. Yet the album started the Bossa Nova movement in American popular music and Jazz Samba rocketed up the charts and got Getz on to rock-and-roll stations, so that teenagers were listening to the single version of Desafinado, pulled up from the Verve LP. “The idea developed of making an album of some of these tunes. “I didn’t know anything about bossa nova,” Getz said. The tide did not turn until 1962, when he and guitarist Charlie Byrd recorded Jazz Samba”for the Verve label. ![]() So, in the 1960 readers’ poll, he had slipped from the first place tenor slot he had won every year since 1950. had moved towards harder, more aggressive statements, characteristics not found in his lyrical approach. When Stan Getz returned to New York early in 1961 after more than two years in Denmark, he found jazz trends in the U.S. Free Jazz / Avant-Garde / Impro Up to 40% Discounts (Second Batch).Vinyl Summer Sale - Up to 30% Discount!.Waxtime Colored Classic LPs & Special Vinyl Editions.Supper Club: Female Vocal Jazz on Vinyl.Jazz, Funk & Soul 7 Inch Collector's Editions.Easy Listening, Exotica, Soundtracks & Library Music.Jazz-Rock, Prog-Rock, Canterbury Sound, RIO & other deviances.Afro-Jazz, Disco-Funk, Soul-Jazz & Global Sounds.J Jazz: Deep Modern Jazz from Japan + Related Japanese Music.Avant-Garde, Free Jazz, Contemporary Music, Ambient & Minimalism.Spiritual Jazz, Fusion, Jazz Funk & Modal. ![]()
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