Search - Stan Getz, Charlie Byrd :: Jazz Samba

Jazz Samba
Stan Getz, Charlie Byrd
Jazz Samba
Genres: World Music, Jazz, Pop
  •  Track Listings (7) - Disc #1

Guitarist Charlie Byrd was invited to travel and play in Brazil during a cultural goodwill tour sponsored by the Kennedy administration in 1961. He was completely enamoured by the music, and when he returned, he headed str...  more »


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CD Details

All Artists: Stan Getz, Charlie Byrd
Title: Jazz Samba
Members Wishing: 7
Total Copies: 0
Label: Polygram Records
Release Date: 5/20/1997
Album Type: Original recording reissued
Genres: World Music, Jazz, Pop
Styles: South & Central America, Brazil, Latin Music, Samba, Brazilian Jazz, Cool Jazz, Latin Jazz, Modern Postbebop, Bebop
Number of Discs: 1
SwapaCD Credits: 1
UPC: 731452141323

Synopsis essential recording
Guitarist Charlie Byrd was invited to travel and play in Brazil during a cultural goodwill tour sponsored by the Kennedy administration in 1961. He was completely enamoured by the music, and when he returned, he headed straight for the recording studio to make the now classic Jazz Samba. Collaborating with Stan Getz on tenor sax and backed by a band that included Gene Byrd (bass, guitar), Keter Betts (bass), and Buddy Deppenschmidt and Bill Reichenbach (drums), Byrd forged a new and brilliant sound. American record companies were to churn out hundreds of watered bossa-pop albums that have since given the style its lounge-addled image, but this album stands as a tribute to the vitality and adaptability of jazz. --Louis Gibson

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CD Reviews

Every Bit As Worth As Getz/Gilberto
Private Quentin Tarantino Fan | nowhere | 04/14/2009
(4 out of 5 stars)

"It seems sometimes this album (at least by the public) is overshadowed by the mega-popular and best selling Getz/Gilberto, but that is somewhat harsh, as this album is ever bit as worthy. In fact the two should easily be bought together, as both are essential Bossa Nova albums and the only two albums you need that belong to the genre (as far as I'm concerned). It's a bit more accessible and more upbeat, with more subtle swinging rhythms and quicker than it's companion. Those who bought the aforementioned mega album and were let down a bit by the downtempo will be happy that this album contains what they wanted.

That's not to say this album suffers from lack of gorgeousness. Right from the start, an essential love song, Desafindo, opens up the album, and the singing lines are replaced by gorgeous saxaphone playing. And while Gilberto was a vital part of that record, Charlie Bird's guitar playing blows Gilberto away. He actually plays some solos, and boy are they pretty mean! Very intricate and melodic, and he's just as good as providing a gorgeous rhythm as he is when he adds spice and flair to the songs. The aforementioned beats are played great with the backing band, and Stan Getz's saxaphone is in fine form, as usual. And unlike it's companion, there are no vocals.

Back to the songs. Each of these songs will satisfy the hunger for bossa nova rhythms. (but it's not the same rhythm for the whole length, of course!), and it's as melancholy either. The only track to be featured on later albums, Desafindo, is agruably better than the hit version, as the instrumental section is a lot different, as well as the intro. It definitely won't replace the vocalist track, but the vocalist track will never be like this one. The whole album is not very long, especially if you cut out the second cut of Desafino (why would you though), but the time suits it just fine. It's over quick, but it doesn't have any filler, thank god.

Bossa Nova, to the unitiated, may be hard to find, considering most "well known" bossa nova is the garbage you can find on one of those lame albums you can find at any gift shop in Palm Desert, California. This trascends all of the elevator muzak garbage you can find at the aforementioned gift shops. If you say you like Bossa Nova, and all you own are one of those lame noveltly albums (the kind in those gift shops that are part of those listening things with the cheap speakers that also sell native american music) or a couple of _______ albums by Thievery Corporation, I advise you pick this and Getz/Gilberto and experience the real thing.

The best jazz album from a pop standpoint in decades
Daniel Berger | Atlanta, GA USA | 10/20/2009
(5 out of 5 stars)

"I first acquired this wonderful album on LP in the early 1970s. It cost 99 cents. It had a bullethole in the corner. Translation for young people: this means it had been remaindered, was being sold cheap, and the hole marked it as unreturnable. It soon turned into one of my favorite albums, and has never not been, since then. It would certainly be one of the 10 albums I'd want with me if marooned on a desert island (assuming the island had electricity.) I was so moved by it that, on my only trip to Rio, I bought another copy, as it seemed like the natural thing to do to own one that actually came from Brazil. No bullethole in this one. I later bought it again on CD. It never fails to make me feel good. Not only isn't there a bad song on it, there isn't a song on it that is less than great.

Reading some of the other reviews here, I learned something. Didn't know Charlie Byrd was the leader in its conception, being inspired by the Brazilian sound after a state-sponsored trip there during the Kennedy Administration. I always assumed Stan Getz was. No matter.

This album distinguishes itself: of all jazz albums that have come out since albums were invented in the 1950s, this is the single best one from a pop standpoint - brilliant, talented jazz that at the same time could be played on a pop station, an old standards station, a beautiful music station, a top 40 station, you name it. Jazz you could give to Grandma to listen to. The pop melodies are listenable, whistleable and unforgettable; the solos are sharp and wonderful, not a bad note in them.

This is what jazz was meant to be: a popular music, music you could dance to, but with brilliant improvisation in it that didn't take away from the song around it.

Very good but
Wyote | Seoul | 07/30/2010
(5 out of 5 stars)

"If you don't know what "bossa nova" is, or why it was so popular for so long, then this is an excellent album to get - though I believe Getz/Gilberto, which is my third or fourth favorite jazz album of all time, is even better. If you're only getting one (for now), then I'd steer you in that direction. However, both are very good albums both for newbies and for old jazzers (who shouldn't listen to me anyway).

The highlight of both albums is Stan Getz's beautiful saxophone, though on this album Charlie Byrd contributes some very nice guitar work too. Let me make a confession: the first time I heard it, I wasn't really happy with Byrd's solos. Some seemed ok, some were disappointing. This happens sometimes with jazz, or for that matter probably with any interesting music. However, about the third time I listened to it, something snapped into place for me, and his solos made perfect sense. His playing has a logic that I needed a few listens to discover. Anyway, I have several albums by Stan Getz and his playing (not to mention his vocalizing, which always expresses my feelings perfectly) is something no music lover should miss.

The reason I'd steer you to the other has nothing to do with Byrd, but with Astrud Gilberto, who sings on several of the tracks, especially "The Girl from Ipanema" and "Corcovado [Quiet Nights of Quiet Stars]," probably the two most famous bossa nova songs.

If this tickles your fancy, let me make some more recommendations. As Amazon has realized, people often buy these with Antonio Carlos Jobim's Wave, which is pure musical fun. But for the people who want a little more bop in their bossa, an interesting album is Page One. Listen to "Blue Bossa" especially.

You just can't go far wrong with any of this. However, if I've somehow left you with some doubt as to what I'd say (had anyone asked) you should hear first, let me clearly state it's Getz/Gilberto, followed by this album. My third recommendation would be a totally different direction, still Stan Getz but this time he's with vibraphonist Lionel Hampton: Hampton & Getz, which is one of the most underappreciated jazz recordings I know of. And if you like that one, then try Wave, Page One, and Cal Tjader's Soul Sauce."