Jazz Samba

Por lo visto a mi ahora el smooth jazz me encanta. Lo mismo soy muy fácil pero es que este rollo de discos me están flipando.

Just such a beautiful album. I could get into the details of it, but really I don’t need to. It’s just a really nice, incredible bit of jazz-samba, headed by the man who would one day not too long after this make the premiere jazz-samba album, that being the legendary Getz/Gilberto, which, in all its greatness, I cannot say is even that much better than this work. Every single song here is beautiful, and it doesn’t overstay its welcome at all. Surely, the 1964 rendition of “Desafinado” is superior, but this album is not far behind its partners. There is little better than to play this album and just listen for a nice bit of time. The sequel’s great too!
9.5/10

I enjoyed listening to this, at least more than the other Stan Getz album on this list. Will I listen again any time soon? Probably not.

The bossa nova craze in the US during the 1960s was a curious phenomenon. While John Coltrane, Charles Mingus and Miles Davis were redefining, expanding and revolutionising jazz, Americans in the midst of an economic boom were dancing to the swinging sounds of Copacabana. It was the white US-American guitarist Charlie Byrd and his friend, the white US-American saxophonist Stan Getz, who sparked a wave of enthusiasm with their album "Jazz Samba", featuring music from Latin America, from Brazil, a multi-ethnic nation whose people and culture blend African, European and indigenous influences. It was music that defied the poverty of a Third World country, exuding a zest for life with a touch of melancholy. Even before the true protagonists of bossa nova — João Gilberto, Astrud Gilberto, Antonio Carlos Jobim, Baden Powell and Sergio Mendes — became known abroad, two white US-Americans had paved the way. Was this cultural appropriation or a passion for a new sound? That’s for everyone to decide for themselves. In any case, it all began with this album. I prefer later albums in the genre, though. Perhaps it's because they're more sensual, more melancholic and less polished than this first version. Nevertheless, it is certainly a milestone.

Honestly, too much samba, not enough jazz, generally inoffensive background music, wouldn't actively listen again.

1) Samba De Uma Nota So
2) O Pato
3) E Luxo So

Least Favourite: Samba Triste

Foundational piece in the bossa nova movement of the early 60’s. Charlie Byrd brought the songs and the arrangements, played with local musicians including his brother. The next wave would bring Brazil’s leading lights into the picture and amp up the craze. I don’t think people today realize how big BN music was in the mid sixties. This is beautifully played a unified record, and well worth a listen.

A great collaborative album, one minute the guitar gets to shine, the next it's the saxophone.

I enjoyed listening. Great musicians, mellow summer vibes.
Because this isn't a genre I'm familiar with, it started to sound samey very soon and didn't really captivate me.
3/5 - good

Play that funky music, white boys

I have a friend in Brazil. Recife, more specifically. They're one of my favorite people in the world. This reminds me of them.

I have this one on Vinyl! it's great background focus music

I will always love Stan Getz

3.5
Nice and chill, good background music

I feel like I've heard about this album before, and maybe I recognize some of the tracks by title, but I've never listened to this album start-to-finish before. I'm definitely looking forward to this one.

So, upon listening, I don't think I actually recognized any of the songs. Still this is a great album, and I'll be adding it to my list of albums to listen to again.

Samba & jazz aren't in my usual musical wheelhouse, but I found myself really enjoying this album. My interest faded a bit in the back half, but this was a quality listen overall.

Some damn good cocktail lounge jazz- that’s not a bad thing or slight on it. It’s great and sounds so good for 1962!

I had a teacher in high school who was the ideal mix of stodgy traditionalist and laid-back dude. He was a moderate Republican (we still made them in those days) with approximately the same personality as Woody from Toy Story. He had high moral standards, yet you could also never quite guess when he would come down on you for something or when he would let his slide.

A club I was a part of met in his room and that sort of became my substitute locker and hangout area through the day. I would often show up early, put on music, and finish music before the day began. One day he came in and asked what was playing and I absent-mindedly replied, “Bitches Brew.” I looked up and I think we realized at the same time that I had said “bitches” around a teacher. His mouth hung open for a moment and then he smiled, nodded his head, and said, “All right!” Turned out he mostly listened to jazz at home, though more in the “Kind of Blue” mode. So that became a place we usually played jazz in the morning.

One day one of the other kids walked in when I had Dave Brubeck on. He was definitely more of a metalhead and he heard was playing and he said, “Um, is this a MIDI?” I’m still not sure if it was sarcastic or not. Anyway, I just turned it off… today, I might have turned it up higher and asked him to listen for the undeniably organic elements of Brubeck and his band, even if I get that the melodies can be a little tinkle-tinkle.

I had kind of the same reaction to this record. Too smooth, too clean. I preferred the Getz/Gilberto where the voices (though also very smooth) ground the sound in some particular time and place. I ended up giving that one a four, but I probably talked it down from a five — I just didn’t enjoy it quite enough. This is a three I talked up to a four because of how much I liked the guitar parts and especially the”Bahia.” Still not my preferred kind of jazz, but certainly not a MIDI.

pleasant but unmemorable

3/5. Credited with starting the American Bossa Nova craze of the ‘60s, this album is what it says on the tin, Jazz Samba. Getz’s sax playing is very solid on here and his soloes glide by smoothly. And so does the guitar playing. Though when it comes to Getz’s work, I vastly prefer 1964’s Getz/Gilberto over this one.

Jeg tror Pixar og ventemusikk har ødelagt denne typen musikk for meg.