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Big Band Bossa Nova
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Big Band Bossa Nova in Franklin, TN
Current price: $22.99
Barnes and Noble
Big Band Bossa Nova in Franklin, TN
Current price: $22.99
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Size: OS
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
(none of which would become standards), and
makes relaxed impressions with
"Manha de Carnival"
"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
boom. ~ Richard S. Ginell
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
(none of which would become standards), and
makes relaxed impressions with
"Manha de Carnival"
"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
boom. ~ 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
(none of which would become standards), and
makes relaxed impressions with
"Manha de Carnival"
"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
boom. ~ Richard S. Ginell
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
(none of which would become standards), and
makes relaxed impressions with
"Manha de Carnival"
"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
boom. ~ Richard S. Ginell
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