Sound Quality: Lossless
Record Label: Verve
Year Released: 1963(Original), 2008(Reissue)
Album Covers: Included
Note From Dada!
Ώτα μου, καθώς μας τελειώνει σιγά σιγά η καλοκαιριά (τουλάχιστον ημερολογιακά), ποστάρω στον απόηχο της ένα κλάσικ του Stan Getz έτσι....σαν καλοκαιρινό "flash back" ή "επίλογο" ας πούμε... Ξεκρεμάω τις σαγιονάρες, σηκώνω και την dada από την ξαπλώστρα (φτου! δεν μου πάει η καρδιά ρε γαμώτο...) και βάζω στη θέση της μία πιο επίκαιρη σε παραλλαγή τζιμινιέρας*. Χωράει πολύ κουβέντα αυτή η φάση της απαγόρευση του καπνίσματος...(εγώ προσωπικά δεν φουμέρνω καθώς έχω επιλέξει άλλους τρόπους να κάνω κακό στην πάρτη μου)...άλλα ας μην το ανοίξω τώρα αυτό το ζήτημα γιατί θα μπλέξουμε...
Stan Getz από το 1963 σε μία συνεργασία (όπως δηλώνει άλλωστε και ο τίτλος του δίσκου) με τον κιθαρίστα Laurindo Almeida. Έξι μουσικά θέματα με τον κλασικό και γνώριμο ήχο του Getz, σε τέσσερα εκ των οποίων ο Almeida εκτός από την ανάμειξή του ως κιθαρίστας έχει και τον ρόλο του συνθέτη ('Winter Moon," "Do What You Do, Do", "Samba Da Sahra" και "Maracatu-Too"). Εδώ εκτός των άλλων υπάρχει ίσως το πιο αγαπημένο μου bossa μουσικό θέμα, το πανέμορφο "Menina Moca" του Luiz Antonio το οποίο και ποστάρω προς άμεση ακρόαση. Κι ενώ πρόκεται για ένα κομμάτι το οποίο γράφτηκε απ' την δυτική πλευρά του Ατλαντικού, θεωρώ κορυφαία την προσέγγιση του Βόσνιου τρομπετίστα Dusko Goykovich ο οποίος το έχει διασκευάσει εις διπλούν (Samba Tzigane-2006, Summit Octet-2009). Συγκεκριμένα η version που περιλαμβάνεται στον δίσκο του "Dusko Goykovich-Summit Octet" είναι απλά εξαιρετική. Αν σας κίνησα την περιέργεια το κομμάτι και (φυσικά) ολόκληρο τον δίσκο μπορείτε να τον βρείτε πατώντας εδώ.
Σας φιλώ στο μόντεμ!
Menina Moca-Stan Getz With Laurindo Almeida
Stan Getz: Tenor Saxophone
Laurindo Almeida: Guitar
George Duvivier: Bass
Edison Machado, Jose Soorez, Dave Bailey: Drums
Luiz Parga, Jose Paulo: Latin Rythm
* Η γιαγιά "Παπαστράτου" είναι φωτογραφία από Flickr.com του χρήστη Inesca και μπορείτε να τη βρείτε πατώντας εδώ.
About Stan Getz
Stanley Gayetzky (February 2, 1927 in Philadelphia – June 6, 1991 in Malibu, California), usually known by his stage name Stan Getz, was an American jazz saxophone player. Known as "The Sound" because of his warm, lyrical tone, Getz's prime influence was the wispy, mellow tone of his idol, Lester Young. In 1986, however, Getz said: "I never consciously tried to conceive of what my sound should be..." Getz played a Selmer Mark VI tenor saxophone.
Getz was born on February 2, 1927, in Philadelphia, Pennsylvania. His parents were Ukrainian Jews who emigrated from the Kiev, Ukraine area in 1903. The family later moved to New York City for better employment opportunities. Getz worked hard in school, receiving straight As, and finished sixth grade close to the top of his class. Getz's major interest was in musical instruments, and he felt a need to play every instrument in sight. He played a number of them before his father bought him his first saxophone at the age of 13. Even though his father also got him a clarinet, Getz instantly fell in love with the saxophone and began practicing eight hours a day.
He attended James Monroe High School (New York) in the Bronx. In 1941, he was accepted into the All City High School Orchestra of New York City. This gave him a chance to receive private, free tutoring from the New York Philharmonic's Simon Kovar, a bassoon player. He also continued playing the saxophone. He eventually dropped out of school in order to pursue his musical career, but was later sent back to the classroom by the school system's truancy officers.
In 1943 at the age of 16, he was accepted into Jack Teagarden's band, and because of his youth he became Teagarden's ward. Getz also played along with Nat King Cole and Lionel Hampton. After playing for Stan Kenton, Jimmy Dorsey, and Benny Goodman, Getz was a soloist with Woody Herman from 1947 to 1949 in 'The Second Herd', and he first gained wide attention as one of the band's saxophonists, who were known collectively as 'The Four Brothers', the others being Serge Chaloff, Zoot Sims and Herbie Steward. With Herman, he had a hit with "Early Autumn" and after Getz left 'The Second Herd' he was able to launch his solo career. He would be the leader on almost all of his recording sessions after 1950.
In the mid to late 1950s working from Scandinavia, Getz became popular playing cool jazz with Horace Silver, Johnny Smith, Oscar Peterson, and many others. His first two quintets were notable for their personnel, including Charlie Parker's rhythm section of drummer Roy Haynes, pianist Al Haig and bassist Tommy Potter. A 1953 line-up of the Dizzy Gillespie/Stan Getz Sextet featured Gillespie, Getz, Oscar Peterson, Herb Ellis, Ray Brown and Max Roach.
Returning to the U.S. from Europe in 1961, Getz became a central figure in introducing bossa nova music to the American audience. Teaming with guitarist Charlie Byrd, who had just returned from a U.S. State Department tour of Brazil, Getz recorded Jazz Samba in 1962 and it became a hit. The title track was an adaptation of Antonio Carlos Jobim's "One Note Samba". Getz won the Grammy for Best Jazz Performance of 1963 for "Desafinado," from the same album. It sold over one million copies, and was awarded a gold disc. As a follow-up, Getz recorded the album, Jazz Samba Encore!, with one of the originators of bossa nova, Brazilian guitarist Luiz Bonfa. It also sold more than a million copies by 1964, giving Getz his second gold disc.
He then recorded the album Getz/Gilberto, in 1963, with Tom Jobim, guitarist Charlie Byrd, João Gilberto and his wife, Astrud Gilberto. Their "The Girl from Ipanema" won a Grammy Award. The piece became one of the most well-known latin jazz tracks. Getz/Gilberto won two Grammys (Best Album and Best Single). A live album, Getz/Gilberto Vol. 2, followed, as did Getz Au Go Go, a live recording at the Cafe Au Go Go. Getz's affair with Astrud Gilberto brought an end to his musical partnership with her and her husband, and he began to move away from bossa nova and back to cool jazz. Even while still working with the Gilbertos, he recorded Nobody Else But Me, an album of straightforward jazz with a new quartet including vibraphonist Gary Burton, but Verve Records, wishing to continue building the Getz brand with bossa nova, refused to release it. It eventually came out 30 years later, after Getz had died.
In 1972, Getz recorded in the fusion idiom with Chick Corea Tony Williams and Stanley Clarke. This group, without Getz, went on to become Return to Forever, and many of the pieces, including "La Fiesta", remained in their repertoire. In this period Getz experimented with an Echoplex on his saxophone. He had a cameo in the movie, The Exterminator (1980).
Towards the end of his life, the then drug-free Getz had another creative peak with a group including the pianist Kenny Barron, whom Getz described as "my musical other half." His tenor saxophone of choice was the Selmer Mark VI, whilst on early recordings he had used a White Plastic Brilhart Tonalin mouthpiece.
In the mid-1980s he worked regularly in the San Francisco Bay area and taught at Stanford University where he was artist-in-residence at the Stanford Jazz Workshop until 1988. In 1986, he was inducted into the Down Beat Jazz Hall of Fame. During 1988, Getz worked with Huey Lewis and the News on their Small World album. He played the extended solo on the title track, which became a minor hit single.
About Laurindo Almeida
Laurindo Almeida (September 2, 1917, São Paulo, Brazil–July 26, 1995, Van Nuys, California) was a Brazilian guitarist.
Prior to being invited to the United States in 1947 by Stan Kenton, Laurindo Almeida played guitar in Rio de Janeiro where he was known for his classical Spanish guitar playing. He joined Kenton's band during the height of its success in the 1940s, then was employed as a studio musician. In 1953 he recorded, with Bud Shank, two albums called Brazilliance for the World Pacific label. He also recorded with Baden Powell, Stan Getz and Herbie Mann, among others, and recorded for film and television, like 1956s Good-bye, My Lady.
From 1974 through 1982 he was a member of the chamber Jazz group The L.A. Four. It was during the 1960s when he enjoyed his greatest recognition, winning several Grammy Awards for his work. In 1961, he won Grammy Awards for Best Engineered Album, Classical and Best Chamber Music Performance. The following year he won Grammy Awards for Best Classical Performance - Instrumental Soloist or Duo and Best Contemporary Classical Composition.
In 1965 he won Grammy Award for Best Instrumental Jazz Performance - Large Group or Soloist with Large Group.
He died on July 26 1995, aged 77.