Review by Richard S. Ginell
Fresh from the sudden success of Jazz Samba and "Desafinado," Stan Getz asked the 28-year-old, strikingly gifted Gary McFarland to arrange a bossa nova album for big band as a follow-up. Getz is always his debonair, wistful, freely-floating self, completely at home in the Brazilian idiom that he'd adopted only a few months before. McFarland usually keeps things nice and spare (although "One Note Samba" is uncharacteristically cluttered and a bit too discordant for the material), letting his pungent voicings stab the air now and then, while allowing the soloists all the room they want within the confines of producer Creed Taylor's tight timings. Four of the eight songs are by McFarland (none of which would become standards), and Getz makes relaxed impressions with "Manha de Carnival" and "Chega de Saudade." Jim Hall takes the role of acoustic guitarist from Charlie Byrd with his usual fluidity, and Hank Jones ruminates in a boppish way on piano. This album also charted quite respectably (number 13) in the first flush of the bossa nova boom.
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Reseña de Richard S. Ginell
Recién salido del repentino éxito de Jazz Samba y "Desafinado", Stan Getz le pidió a Gary McFarland, de 28 años de edad, que arreglara un álbum de bossa nova para una gran banda como seguimiento. Getz es siempre su persona cortés, melancólica, que flota libremente y que se siente como en casa en el idioma brasileño que había adoptado unos meses antes. McFarland suele mantener las cosas bonitas (aunque "One Note Samba" es inusualmente desordenada y un poco demasiado discordante para el material), dejando que sus penetrantes voces agüen el aire de vez en cuando, mientras que permite a los solistas todo el espacio que quieran dentro de los límites de los apretados tiempos del productor Creed Taylor. Cuatro de las ocho canciones son de McFarland (ninguna de las cuales se convertiría en estándar), y Getz hace impresiones relajadas con "Manha de Carnival" y "Chega de Saudade". Jim Hall toma el papel de guitarrista acústico de Charlie Byrd con su fluidez habitual, y Hank Jones rumia de una manera muy desagradable al piano. Este álbum también fue muy respetable (número 13) en la primera descarga del boom de la bossa nova.
Track listing:
Manha de Carnival (Morning of the Carnival) (Luiz Bonfá) – 5:48
Balanço no Samba (Street Dance) (Gary McFarland) – 2:59
Melancólico (Melancholy) (Gary McFarland) – 4:42
Entre Amigos (Sympathy Between Friends) (Gary McFarland) – 2:58
Chega de Saudade (No More Blues) (Antônio Carlos Jobim/Vinicius de Moraes) – 4:10
Noite Triste (Night Sadness) (Gary McFarland) – 4:56
Samba de Uma Nota Só (One Note Samba) (Antônio Carlos Jobim/Newton Mendonça) – 3:25
Bim Bom (João Gilberto) – 4:31[5]
Personnel:
Stan Getz (tenor saxophone)
Doc Severinsen, Bernie Glow or Joe Ferrante and Clark Terry or Nick Travis (trumpet)
Ray Alonge (French horn)
Bob Brookmeyer or Willie Dennis (trombone)
Tony Studd (bass trombone)
Gerald Sanfino or Ray Beckenstein (flute)
Ed Caine (alto flute)
Ray Beckenstein and/or Babe Clark and/or Walt Levinsky (clarinet)
Romeo Penque (bass clarinet)
Jim Hall (unamplified guitar)
Hank Jones (piano)
Tommy Williams (bass)
Johnny Rae (drums)
José Paulo (tambourine)
Carmen Costa (cabassa)
Gary McFarland (arranger, conductor)[5]
Release Date: 1962
Duration: 33:30
Genre:
Jazz
International
Styles:
Bossa Nova
Brazilian Jazz
Brazilian Traditions
Cool
Post-Bop
World Fusion
Jazz Instrument
Saxophone Jazz
Recording Date: August 27, 1962 & August 28, 1962
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