One could make a compelling argument that if it weren’t for the blood transfusion of bossa nova into the veins of jazz in the early 1960s, the music would have died of the cacophony of free jazz. The pulse and harmonies of Brazil, combined with a boomerang effect of taking Chet Baker’s sotto voice and putting it to Brazilian vocals created a wave that not only was a wonderful tsunami back then, but the ripple effect still resonates today.
If you are unfamiliar with the inception of bossa nova/samba, here are a couple recommendations:
On one disc you get the first three legendary and groundbreaking albums by Joao Gilberto. How is that possible? Simple, all of the songs clock in between one to two and a half minutes, with Gilberto giving the framework for all subsequent interpretations. The 1959 debut includes plenty of Antonio Jobim, as in “Chega de Saudade” an d “Desifinado” with his his own “Bim-Bom” bouncing nicely. The followup from 1960 includes the luscious debut of “Mediacao”, the fun “O Pato” and the soon to be classic “Corcovado” along with “Samba de Uma Nota So”. Finally, 1961’s eponymous release brings in material from Dori Caymmi with the classic “O Samba d Mnha Terra” and Saudade da Bahia” and you even get a couple bonus tracks including “Mana De Carnival”. Simple and enthralling.
Stan Getz was essentially the one who mixed samba with jazz, and started the whole ball rolling. This four disc, eight album collection includes four of the most important releases. 1962 teams Getz with guitarist Charlie Byrd and a lithe rhythm team for the gauntlet throwing version of “Deafinado” and “Samba de Uma Nota So” which took the US by storm. Next year’s encore included Antonio Jobim on guitar and piano, Luis Bonfa on guitar and Maria Toledo on some delicate vocals for the dreamy “Insansatez” and “O Morro Nao Tem Voz”. Getz joins a big band that includes guitarist Jim Hall and pianist Hank Jones, with charts arranged by Gary McFarland. The takes of “Manha de Carnival” and “Chega de Saudade” work well, and “Bim Bom” is a delight. Last, but most enduring of all, is the Desert Island Disc of Getz/Gilberto, with Getz bringing the soothing and soft voice of Astrud Gilberto to American ears, as she coos through “Girl From Ipanema” and the haunting “Corcovado” while both Jobim and Gilberto play quiet chords on their guitars and sing a bit with Getz blowing smoke rings on “O Grande Amor”. This is what dreams are made of.
The other four albums are nothing to sneeze at, either. Getz bops with West Coasters Lou Levy/p, Shelly Manne/dr, Leroy Vinnegar and guest Lionel Hampton for a rip roaring “Cherokee” and “Jumpin’ At The Woodside”. So much for California Cool! Getz is then captured in concert at the LA Shrine Auditorium with Ray Brown/b, Herb Ellis/g, Oscar Peterson/p, Connie Kay /dr and JJ Johnson/tb for some delightful bopping on “Billie’s Bounce” and floating “My Funny Valentine”. Next is a 1958 album with Oscar Peteson’s trio with Louis Bellson at the drums, trumpeter Harry Edison, and baritonist Gerry Mulligan having a blast , literally exchanging horns for a hoot of “ Chocolate Sunday” and a wonderful ballad medley. Getz the goes into an entirely different direction, going “Third Stream” with orchestrator Eddie Sauter with some cerebral charts. The team is icy cool for pieces like “I Remember When” and artsy for a tricky “I’m Late, I’m Late”, with the album being a fascinating one-off. This is also a direction that was averted due to the warmth of the Brazilian beat.