Big Band Bossa Nova 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. Allmusic
Although not reaching the chart heights of its predecessor, the album performed respectably on the charts. On the Billboard Top LP chart, it reached position #13, staying on for 23 weeks.[5]
Noted jazz critic Don DeMichael, writing in the December 6, 1962 issue of Down Beat magazine, awarded the album the top rating of five stars. He said: "Getz' melodic gift was never more evident; even the way he plays "straight" melody is masterful. Few jazzmen have had this gift... and it has to do with singing by means of an instrument, for Getz doesn't just play a solo, he sings it, as can be heard on any of these tracks, most evidently on Triste and Saudade."[2]
About the writing DeMichael says: "McFarland shares in the artistic success of the album. His writing is peerless... he knows the proper combination of instruments to achieve certain sounds and he has the taste not to use all the instruments at hand all the time. His sparing use of the ensemble allows the beauty of the soloist and the material to shine through".[2]
- "Manhã de Carnaval" (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, Vinícius 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[6
- 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 - cabasa
- Gary McFarland - arranger, conductor[6]
Big Band Bossa Nova is a 1962 album by saxophonist Stan Getz with the Gary McFarland Orchestra. The album was arranged and conducted by Gary McFarland and produced by Creed Taylor for Verve Records. This was Getz's second bossa nova album for Verve following Jazz Samba, his very successful collaboration with guitarist Charlie Byrd.
The music was recorded at the CBS 30th Street Studio in New York City on August 27 and 28, 1962.
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