![]() Roughly three years ago, the drummer filed suit against Verve and its parent company, Universal Music Group, for back and future royalties on Jazz Samba, which continues to sell respectably and has had its tracks anthologized at least three dozen times. In his liner notes to the 1997 Verve reissue of Jazz Samba, John Litweiler wonders, “Would North American audiences have even known of bossa nova if not for Byrd?”įrom Buddy Deppenschmidt’s standpoint, the question is exasperating. Jobim is now nearly as integral to the jazz canon as Rodgers & Hart, rhythm changes and the blues. But in the coming decades, bossa nova would have a truly significant and lasting impact on jazz. As Dave Gelly writes in his Stan Getz biography Nobody Else But Me (Backbeat, 2002), “ the height of the craze one could buy bossa nova ballpoint pens, bossa nova gymshoes and bossa nova foldaway plastic raincoats.”Įveryone from Eydie Gormé to Elvis Presley had a go at a bossa nova hit, and the jazz world saw a wave of now-forgotten bossa nova statements by Quincy Jones, Charlie Rouse, Milt Jackson, Shorty Rogers and more. The American masses not only warmed to the music, but also succumbed to a bout of consumer-culture silliness. ![]() It is Jazz Samba that gave American listeners their first taste of “Desafinado” and “One Note Samba” and set the ’60s bossa nova craze in motion. Joe (Gene) Byrd, the youngest of Charlie’s three younger brothers, played rhythm guitar or second bass, and Bill Reichenbach played additional drums and percussion. He and Charlie Byrd, the co-leaders, were joined by Byrd’s working rhythm section: Keter Betts on bass and Buddy Deppenschmidt on drums. In our day Jazz Samba has been overshadowed by 1964’s Getz/Gilberto, the undisputed masterpiece of the genre, with its monster hit “The Girl from Ipanema.” Jazz Samba, in contrast, featured Getz with American, not Brazilian, musicians. In time it would become, in Morales’ phrase, “the first truly panhemispheric music of the Americas.” The new idiom’s seductive sound, unusual song forms and suitability for jazz improvisation had a profound impact on most American jazzers who heard it. ![]() He and guitarist and vocalist João Gilberto pioneered a new, urban, sophisticated music called bossa nova, derived from the faster, more symmetrical samba rhythm. Antonio Carlos Jobim had been influenced by West Coast “cool” well before his first in-the-flesh collaborations with American jazz musicians. The role of jazz in fostering amity and exchange between the two nations cannot be overstated. “Ahead of the rest of Latin America, Brazil posited itself as another country in the Americas with a strong enough history and cultural development to become a cultural peer of the United States,” writes Ed Morales in The Latin Beat (Da Capo, 2003). In the process, he’s raising new questions about how the ’60s bossa nova craze came into being. Maybe you’ll enjoy it even more, now that you know a little bit about its background.Buddy Deppenschmidt and friends, Brazil, 1961ĭrummer Buddy Deppenschmidt is speaking out about his role in the recording of Stan Getz and Charlie Byrd’s 1962 classic Jazz Samba. Happily, you won’t have to wait at all to listen to Nate Najar’s ‘One Note Samba’. The release date for Jazz Samba Pra Sempre is May 13, 2022. Playing Charlie Byrd’s own guitar, Najar is joined by Jeff Rupert on tenor sax, Herman Burney on bass (playing Keter Betts’ bass played on the original Jazz Samba) and Chuck Redd on drums (previously of the Charlie Byrd Trio) navigating the tracklist with equal parts reverence and invention.” ![]() “Jazz Samba Pra Sempre is loving “reimagining” of this seminal album. Najar’s website expands our expectations. Every aspect of Jazz Samba Pra Sempre evolves from this point. The result is both respectful and refreshing. Nate Najar’s tribute to ‘Samba De Uma Nota So’ shows his unique approach to honoring that 1962 recording. Bassist Ketter Betts anchored Jazz Samba’s intimate sound while drummer Buddy Deppenschmidt created the album’s rhythmic magic.Ĭharlie Byrd’s brother Joe also played guitar during the session. Joining them for this ‘live, in one take’ session were members of Charlie Byrd’s trio. Jazz Samba was recorded at Washington, DC’s All Souls Unitarian Church by saxophonist Stan Getz and guitarist Charlie Byrd. Jazz Samba celebrates its 60 th Anniversary this year. Najar’s album title is a homage to perhaps the most treasured and historic Bossa Nova jazz album of all time.
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