Sergio Mendes Trio & Hubert Laws plays Batida Diferente

lj

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Rudy has noted his particular enjoyment listening to the music of Sergio Mendes before the formation of Brasil 66. Here is a classic Bossa Nova gem written by guitarist Durval Ferreira, who was part of the Mendes band that performed at the famous Carnegie Hall Bossa Nova concert in 1962.

It's a real treat listening to the flute playing of the jazz great Hubert Laws. I cannot say enough about the brilliance of music producer Creed Taylor, who at various times produced an incredible number of albums for musical giants such as Hubert Laws, Stan Getz, Charlie Byrd, Joao and Astrud Gilberto, Grover Washington Jr, Deodato, Jobim, Airto Moreira, Stanley Turrentine, Bob James, Walter Wanderley, Freddie Hubbard, Ron Carter, Herbie Hancock, Paul Desmond etc. Creed Taylor turns 90 this year and has left an amazing musical legacy. For me, his promotion of Bossa Nova was paramount.

 

Rudy

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You know it! :thumbsup: This is the style I wish Sergio would record in once again, but I know his ship has sailed for that type of music. It is still my favorite, more so than Brasil 'Whenever and beyond. :wink: He was developing a unique style, and some of it is even apparent on Dance Moderno. Bossa Nova York was definitely a touchstone in those early days.

In an incredible case of striking while the iron was hot, Creed Taylor would complete three Bossa Nova albums with Stan Getz within a single month. Considering the quality of the output, it's an incredible feat compared to today, when artists take two, three, even five years between albums.

On Feb 27, 1963, the last session for Jazz Samba Encore! with Luiz Bonfa was recorded. March 18-19 saw the recording of the Getz/Gilberto album. And just two days later on March 21, Getz would team up with yet another Brazilian guitarist and set Stan Getz with Guest Artist Laurindo Almedia to tape.

I am not as fond as others were of Taylor's CTi era on A&M (I find the strings often water down the music too often, in an attempt to appeal to a different audience), but he came into a second era of contemporary jazz once CTi moved to Columbia's distribution.
 

lj

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Truly amazing--three classic albums in one month!

Respect must be paid to composer/guitarist Luiz Bonfa. For the renown 1959 film Black Orpheus, Bonfa wrote two classic songs that become Brazilian and jazz standards--Manha de Carnival (A Day in the Life of a Fool) and Samba de Orfeu. For your listening pleasure, I've posted Samba de Orfeu from that film. It was Bonfa who mentored Eumir Deodato and brought him over to the USA in the 1960s.

 

Rudy

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I need to watch that film again--it's been many years!

I have Jazz Samba going at the moment. Strange, I know, but I'm not as fond of Getz/Gilberto as I am the others. I think part of it is Getz's sax being way too loud among the quiet music. I cringe every time he plays on that one. The other albums have arrangements which are a lot more "busy" and to me it just sounds better that way.
 

lj

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It has been said that Joao Gilberto himself had serious concerns that Getz sax would drown out his soft guitar sound. There was friction between the two guys during the recording sessions.

Here is a video of Luiz Bonfa on the Perry Como Show performing his Manha de Carnival. This is one of the most widely recorded songs of all time--a timeless ballad.

 
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