12/5/2023 0 Comments Getz jobim one note sambaBut it’s not the one note that gives the song its charm it’s the way that the bass line creeps down chromatically under the note, like someone sinking slowly into a deck chair by the pool.ģ. It’s from the guitar that we first hear the “one note” referred to in the title. The soft brushes, the clinking high-hat, the delicate rim hits…it is physically impossible to listen to this without moving your head back and forth like a pigeon.Ģ. He was so loved in Brazil that the international airport in Rio now bears his name fitting for someone who exported Brazillian music to the world.ġ. And although many versions of “One Note Samba” exist, this one stands as my favourite, and as the one that introduced bossa nova to the northern hemisphere as part of the Grammy-winning album “Jazz Samba” by Stan Getz and Charlie Byrd.Īntonio Carlos Jobim was the most famous Brazilian of the 1960s (other than, maybe, Pele), and his list of hits is staggering. There is no escape – I will listen to no other version any more, also because aesthetics of FIM's edition is unrivaled.I couldn’t let Southern Hemisphere Month go by without including a bossa nova track.īossa nova (which, I just found out, translates to something like “new wave”) is the southern hemisphere’s greatest contribution to the jazz genre. Getz's saxophone is bit brighter than before but at the same time there is more of it and it is deeper so you don't have an impression of exaggerated brightness. Winston Ma's version is clearer, but not until the moment, when SACD reissue, through overrated vividness, started to be difficult to perceive. Because of course there are some flaws – Gilberto's voice was taken very closely, which made him sound so nasal, dark. Here artistic concept and so on is in the first place, ahead of some flaws of the recording. Sound stage is really wide and deep and I've been discovering new small detail previously hidden or covered by something else. The noise of master-tape is audible, but placed “behind” the music, exactly like on the vinyl records. Gilberto's guitar is very strong but not too hard unlike all previous versions. Resolution of the sound, natural softness, and brilliant differentiation of dynamics and timbre are very impressive. Yes, the voices is recorded with totally different reverb and you can hear that, but it doesn't hurt so much as on MoFi version, where it sounds like it is coming from the small shoe-box. The sound is extremely clear, there are no nasal voices, and even Astrud's voice extra added to the recording finally doesn't sound like it comes from another record. It is much better than any version I heard so far. The latter has some advantages over MoFi, but the voices are too nasal. The most times I listened to Mobile Fidelity version, but just few times less to vinyl Speakers Corner reissue. I know this recording very well, listened probably to every format available. His body was cremated and the ashes scattered at sea, off the coast of Malibu, California. In fact Joao divorced Astrud shortly after that to marry love of his live in 1965. Successful cooperation between Getz and Gilberto was broken by affair of the first one with the second one's wife - Astrud Gilberto. A live album, Getz/Gilberto Vol.2 followed, as did Getz Au Go Go a live recording at the Cafe Au Go Go. He received another Grammy for The Girl From Ipanema and the album won two Grammys (Best Album and Best Single). Still same year Getz recorded the album Getz/Gilberto together with Tom Jobim, Joao Gilberto and his wife Astrud Gilberto. As a follow-up saxophonist made another record called Jazz Samba Encore!. For the track coming from this record, called Deafinado Getz received Grammy Award in 1963. The title piece was his variation on One Note Samba by Antonio Carlos Jobim. Getz's experience with Latin music - samba and bossa-nova started in 1962, when he made a hit record Jazz Samba. 9 The Girl from Ipanema - 45 rpm issue 2:47ġ0 Corcovado (Quiet Night of Quiet Stars) - 45 rpm issue 2:23Īstrud Gilberto: vocal in pieces no: 1, 5, 9 and 10Ī „relationship” of saxophonist Stan Getz (real name Stanley Gayetzky, 1927-1991) with guitarist Joao Gilberto (Joao Gilberto Prado Pereira de Oliveira, born 1931) was quite fruitful but at the same time quite checkered.
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