Jazz Samba Encore! (Remastered) Stan Getz & Luiz Bonfa

• 1 Sambalero 02:09
• 2 Só Danço Samba 03:38
• 3 Insensatez 03:23
• 4 O Morro Nao Tem Vez 06:54
• 5 Samba De Duas Notas (Two Note Samba) 04:21
• 6 Menina Flor 04:10
• 7 Mania De Maria 02:44
• 8 Saudade Vem Correndo 03:39
• 9 Um Abraco No Getz (A Tribute To Getz) 04:24
• 10 Ebony Samba 04:35
• 11 Ebony Samba 03:50
• Total Runtime 43:47

Info for Jazz Samba Encore! (Remastered)

Als Stan Getz und Charlie Byrd die Amerikaner mit ihrer ersten Samba Platte überraschten, ahnten sie nicht, dass dies ihr größter gemeinsamer Erfolg werden sollte. Die brasilianische Popularmusik sprengte mit Titeln wie „Desafinado“ und „One Note Samba“ die geographischen Grenzen. Das musikbegeisterte Volk verlangte Nachschlag und die Produzenten von VERVE lieferten ihn mit Jazz Samba Encore.

Die Musik dieses Albums leuchtet noch etwas tiefer in das Herz brasilianischer Melodien. Bonfa und Jobim, die Stückeschreiber und famosen Gitarristen, spannen die Saiten, auf denen sie selbst und ihre Solisten schwerelos tänzeln – allen voran Maria Toledo, die die Musik ihres Landes bis in die kleinste Phrase beherrscht.

Stan Getz, zwar Nicht-Brasilianer, aber spätberufener Samba-Experte, fügt sich wunderbar in dieses Ensemble ein. Sein voller, bis in die hohen Lagen weicher Tenorklang und sein perlendes Legato werden hier endgültig zum Markenzeichen seiner Spielweise. Schöner Sound und natürlich Rhythmus und immer wieder Rhythmus machen diese Schallplatte auch noch partytauglich.

Stan Getz, tenor saxophone
Luiz Bonfa, guitar
Antonio Carlos Jobim, guitar
Maria Toledo, vocals
Don Payne, bass
George Duvivier, bass
Tommy Williams, bass
Dave Bailey, drums
Jose Carlos, drums
Paulo Ferreira, drums

Recorded February 8, 9 and 27, 1963 at Webster Hall, New York
Produced by Creed Taylor

Digitally remastered

Luiz Bonfa
the son of an Italian immigrant, grew up in Rio and took up the guitar at 11. He studied with the Uruguayan guitarist Isaias Savio. In the late 1940's, he joined a vocal group called the Quitandinha Serenaders, named after the Quitandinha Hotel in Petropolis, a town near Rio. The group performed on Brazil's Radio Nacional in 1946 and was somewhat successful. But Mr. Bonfa quit the group in 1953 to work alone, mostly as a songwriter and guitarist. He was a delicate, fluent samba player, and in the mid-1950's was used extensively both as a musician and as a composer by Dick Farney, the Brazilian Sinatra-like crooner.

He was already well known in Brazil when he left for New York in 1957. Before his departure, Mr. Bonfa played guitar on the soundtrack recording for what would be „Black Orpheus.“ „Manha de Carnaval“ and „Samba de Orfeu“ were the two compositions he offered to the film's director, Marcel Camus. Better known to English-speakers as „A Day in the Life of a Fool“ and „Orpheus' Samba“ after the movie came out in 1959, they became some of the most widely recorded and performed Brazilian songs of the bossa nova era. The film's soundtrack also included work by Jobim and Vinicius da Moraes.

In New York Mr. Bonfa worked with Mary Martin, the Broadway singer, accompanying her on a solo tour. He returned to Brazil in 1959, when bossa nova was in its ascendancy. In 1962, Mr. Bonfa appeared at a historic bossa nova concert at Carnegie Hall, performing ''Manha de Carnaval,'' which was the best-known song of the evening. He stayed on in New York, living in hotels and returning to Brazil for a few months a year.

Mr. Bonfa lived in New York with his second wife, Maria Helena Toledo, performing and writing, often working in the late 1960's with the Brazilian keyboardist and composer Eumir Deodato, whose passage to New York was paid for by Mr. Bonfa. He wrote music for the soundtrack of the 1966 movie „The Gentle Rain,“ and built a reputation in the United States that was not equaled in his homeland.

Through the 60's and early 70's, he recorded a series of albums with the producer Creed Taylor, including „Bossa Nova“ (1962) and „Jazz Samba Encore“ (1963). His work for other producers included „The New Face of Luiz Bonfa“ (1970), the solo-guitar album „Introspection“ (1972) and „Jacaranda,“ an adventurous record with a jazz and Latin-music cast (1973).

He is survived by his third wife, Ruth de Oliveira, of Rio de Janeiro; a son, Luiz Novaes Bonfa, of Los Angeles; and three sisters.

Mr. Bonfa was less productive in the 70's, recording a few albums that were little known in the United States, among them „Manhattan Strut“ (1974), made with New York jazz session players, and „Bonfa Burrows Brazil“ (1984), made with the Australian saxophonist Don Burrows.

He had a short burst of renewed recognition in New York during the late 80's, playing a successful two-week run at Fat Tuesday's in 1987 and recording an album for Chesky, „Nonstop to Brazil“ in 1989, with a group that included the American jazz guitarist Gene Bertoncini. His last full album project was „The Bonfa Magic“ in 1991.

This album contains no booklet.