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Ronnie Foster lgLike every Hammond organ player, Ronnie Foster owes a debt to Jimmy Smith, but on his first recording session as a leader he takes the instrument into new areas on this funky soul-meets-R & B-meets-jazz album. Foster had made his Blue Note debut when he was just 18 years of age on Grant Green’s Alive album. Two Headed Freap was recorded on 20 & 21 January 1972 at Rudy Van Gelder’s studio in Englewood Cliffs, so you know it’s going to sound great.

Like so many of the records released by Blue Note in this period, it fails to excite the traditional fans of the label but Two-Headed Freap, like a number of other albums from the early 1970s, laid the foundations for the acid-jazz movement. At the time of its release Jazz Journal said, “It is sad that a label with the reputation of Blue Note should be reduced to recording the casual meanderings of background pop music.” What utter tosh!

Foster composed five of the eight tracks and the others are skilfully selected covers; of these, Al Green’s ‘Let’s Stay Together’ shows just why Foster was so respected and in such demand as a sideman, and not just for jazz artists. *George Benson was an admirer and Foster later played on his Breezin’ album, contributing the exquisite ballad, ‘Lady’.

On his own debut, the best of Foster’s compositions are the laid-back ‘Summer Song’, which features Gene Bertoncini’s Benson-like guitar, and a track that clearly demonstrates the difference between Foster and Jimmy Smith, ‘Mystic Brew’. Foster’s playing is more sustained, there’s less attack and he plays along the melody line in a more fluid way – which is not to say he’s better; just different. ‘Mystic Brew’ has been frequently sampled by artists such as A Tribe Called Quest, and by DJ Madlib on his 2003 Blue Note album, Shades of Blue.

Like many other jazz albums from this era, Two-Headed Freap has the feel of a Blaxploitation movie about it, and that’s not a criticism. The album is very definitely of its time and should be appreciated as such. The Penguin Guide to Jazz on CD reviewer is of the same opinion as the critic from Jazz Journal and ignores the album, which says a lot about how the jazz police see this era. Don’t let them brainwash you!

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John Lodge April 3rd at 9:40am

A great album from a great era for music in general. FOR ME the 70's was, and remains, the most creative all round. I love the 60's too, but was probably just too young to have appreciated it, especially the early 60's jazz scene.

“The greatest of us all is, unquestionably Wes Montgomery.” ­ – Barney Kessel

Is ‘Bumpin’’ the coolest opening to an album ever? Well if it isn’t, it’s very close, as Wes Montgomery’s trademark melodic riffing creates a mood that is enhanced by Don Sebesky’s subtle string arrangements. It was on 16 March 1965 that Wes Montgomery recorded the first couple of tracks (‘Here’s That Rainy Day’ and ‘Musty’) for the album that would eventually be called Bumpin’It’s the kind of music that gave ‘Late Night Jazz’ a good name, before it became an over-used euphemism. Montgomery, wrote three of the tracks, including the title song (along with ‘Tear It Down’ and ‘Mi Cosa’) and his choice of covers is inspired, Dizzy Gillespie’s ‘Con Alma’ and Jimmy Van Heusen and Johnny Burke’s ‘Here’s That Rainy Day’ in particular

This was Montgomery’s first album to make the Billboard chart, albeit a lowly No.116; it’s a fact that belies its brilliance. The album’s been called “serene and enchanting”, and it’s the perfect way to sum up this gem of a record.

Is it his best? Of his Verve studio albums it’s arguably a yes, but from his earlier career maybe So Much Guitar or Far Wes may be marginally better.  Have you a favourite Wes Montgomery album or is it too close to call…

Download here at a special low price…

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trueballs March 16th at 2:52pm

The Incredible Jazz Guitar is probably my favorite. Barney Kessel said it best

Patrick Floyd March 16th at 6:05pm

Bumpin' is in my top three favorite jazz albums ever, along with Coltrane's My favorite things and Miles' In a silent way. Bumpin' is hands down my favorite track from Wes. I have it on vinyl, nothing sounds better.

Jazzbuff March 16th at 7:17pm

My favorite Wes albums are: Moving Wes - (the best guitar version of Caravan I've every heard.) Smoking at the Half Note and the Dynamic Duo - Wes. & Jimmy Smith.

I was fortunate to have heard Wes in person numerous times. Wes did "impossible" stuff on the guitar in person. He was in a league all my himself!

All of his stuff is good.

Jazzbuff March 16th at 7:21pm

jazzlabels March 16th at 8:34pm


Darrell March 17th at 1:25am

According to the Verve CD reissue, recording began on MAY 16 and not MARCH 16. Which is it?

jazzlabels March 17th at 6:49am

Hi Darrell, it's March 16th according to all the discographies. Looks like someone in writing the notes read MAR as MAY.

Wes Montgomery With Don Sebesky Orchestra
Arnold Eidus, Lewis Eley, Paul Gershman, Louis Haber, Julius Held, Harry Lookofsky, Jos Malignaggi, Gene Orloff, Sol Shapiro (violin) Harold Coletta, Dave Schwartz (viola) Charles McCracken, George Ricci (cello) Margaret Ross (harp) Roger Kellaway (piano) Wes Montgomery (guitar) Bob Cranshaw (bass) Grady Tate (drums) Candido (bongos, congas) Don Sebesky (arranger, conductor)

Rudy Van Gelder Studio, Englewood Cliffs, NJ, March 16, 1965

65VK307 Musty Verve V/V6 8625, 2V6S 8813, V3HB 8839
65VK308 Just Walkin' Verve V6 8804, 314 539 062-2
- Just Walkin' (alt. take) Verve 314 539 062-2
65VK309 Here's That Rainy Day Verve V/V6 8625, 2V6S 8813, V3HB 8839

robertm2000 January 27th at 6:51pm

ANYTHING that Wes recorded is fantastic! I happen to like well-arranged and performed orchestral music, coming from a classical music background, so the work of Don Sebeskey is well-known to me, and to hear Wes atop that lovely orchestral backing is nothing short of marvelous. Some of the Creed Taylor things are a bit much, but I can enjoy anything Wes did, even the things with big orchestra, simply because Wes Montgomery was a musical genius.

We Bring You The Coolest New Jazz…

17th July, 2015
posted in: Playlists

Jazz proud
Among some music fans there is a perception that jazz is only played by older people, sometimes musicians that are sadly no longer with us. And while the glory days of Blue Note, Verve, Prestige and Riverside in the 1950s, as well as impulse in the 1960s feature some of the greatest music ever recorded there is jazz today that is every bit as good and as exciting as the jazz recorded decades ago.

Artists like Jason Moran, Terence Blanchard and Robert Glasper acknowledge the debt they owe to those that went before them but they also passionately believe there is a lot more for jazz to say, both now and in the future. Anyone that has witnessed Jason Moran re-imagining the music of Fats Waller knows just how true this is.

Equally, multi-Grammy award winning Robert Glasper is at home with Hip-Hop influenced jazz as he is with the kind of jazz that might resonate with an older audience. Similarly another multi[Grammy Award winner, Terence Blanchard whose latest project with the e-Collective is just as exciting as going to any rock gig by some new happening band. Likewise, Jose James, whether paying homage to the music of Billie Holiday or exploring new jazz paths offers an always interesting take that is both intellectual and stimulating.

At the other end of the jazz spectrum are the amazing Snarky Puppy whose latest offering, Sylva with the Metropole Orkest is destined to be one of this century’s most important recordings. There will be names on the playlist that may mean nothing to you, but don’t let this put you off. If you’ve never listened to Derrick Hodge or Ben Williams or Ambrose Akinmusire or Takuya Kuroda then you are missing some of the best new talent there is; musicians that are exploring the far horizons of not just jazz but music as a whole.

We’re Jazz Proud and we’re pretty sure you’ll be too after listening to our playlist of the coolest new jazz…

Listen to Jazz Proud

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Coleman Hawkins_edited-1
Coleman Hawkins – Hawk to his many fans – did more than any other musician to establish the tenor saxophone and it was on this day in 1969 that he passed away. He was a suave, elegant and sophisticated player – the very antithesis of what mmany consider a jazz musician to be; although his love of drinking ensured he fulfilled that particular cliché. ‘Bean’ was a powerful, passionate and original tenor player who lived in London and toured Europe for five years during the 1930s, helping to spread the word that is jazz.

The eighteen-year-old Hawkins became one of Mamie Smith’s Original Jazz Hounds – billed as ‘The Saxophone Boy’; he recorded with Mamie in May 1922, before leaving her band to settle in New York. In August 1923 he was with Fletcher Henderson’s Orchestra, the start of a long running relationship with what was the premier Black orchestra of the day. At the same time he recorded with were Bessie Brown, the Chocolate Dandies, Fats Waller and McKinney’s Cotton Pickers.

In September 1933 Coleman went into the studio with his own Orchestra for the very first time. The following year, somewhat unusually for an American musician at this time his next recording date was to be in London. Henderson’s band had been due to tour England, but it fell through, leading Hawkins to make contact with British bandleader Jack Hylton to arrange a visit for just himself.

Billed as ‘King Coleman Hawkins’ the European trip was supposed to be a short, but Henderson kept extending his stay to play; recording in Paris, Zurich and Amsterdam , as well as performing in Denmark and Belgium. In Paris he recorded with Stéphane Grappelli and Django Reinhardt before his final European appearances with Jack Hylton in London in May 1939. With war looming Hawk headed home and got an orchestra together to begin a residency at Kelly’s Stable, in New York. On 11 October 1939 he recorded the sublime, ‘Body and Soul’, which just about everyone at the time, and since, have agreed is perfection. It was one hell of a way to put every other aspiring tenor sax player on notice that he was back.

His band played the Savoy Ballroom and the Apollo Theatre in Harlem, but it was not the way to present Hawkins or his music, as he had none of the showman qualities to pull off these kinds of gigs. By 1941 he was working with a small group and feeling much more comfortable playing in Chicago and the Midwest. In 1946 he appeared on the Jazz at the Philharmonic tour, the first of many that he undertook.
As the fifties came around, and approaching fifty, Hawk embraced the role as one of jazz’s elder statesmen. He was quick to tell people about Miles Davis before almost anyone was aware of him. He had worked with some of the rising stars, including Dizzy Gillespie and Max Roach, playing some of the earliest Bebop recordings.

Because of his JATP shows he was asked to record for Verve. The first session was actually the live show at The 1957 Newport Jazz Festival before the first studio session at Capitol’s Studio in Hollywood in October of that year backed by Oscar Peterson, Herb Ellis, Ray Brown and Alvin Stoller. The songs the cut became ‘The Genius of Coleman Hawkins’, and every tune proves the point. Later that day they were joined by another tenor sax great and the result was ‘Coleman Hawkins Encounters Ben Webster’. Not a bad day at the office.

By the early Sixties Coleman’s style was not seen as hip by those that thought themselves tastemakers but he still recorded some interesting albums, including, Duke Ellington Meets Coleman Hawkins. He still continued to perform, especially in New York City’s clubs and on tours. Finally the life of a hard drinking jazzman begun to catch up with him and in 1967 he collapsed while on stage in Toronto. By December he was appearing one last time in Britain with his old friend Oscar Pettiford’s band at Ronnie Scott’s club. He played just once more, in Chicago in April 1969, but a month later he was dead at just 64 years old.

If you do nothing else today then listen to the ‘Love Theme from Apache’ and ‘Body and Soul’; Bean’s first solo on Apache tells you everything about what made him so vital and indeed, a Genius. The world will seem like a better place after you’ve savoured them.

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Tracie May 19th at 11:44am

Little typo in the first paragraph. It should read "Coleman Hawkins" instead of "Coleman Hawklins".

The Jazz Labels May 19th at 2:36pm

Tracie, thank you, we've sorted it!

Maiden Voyage_edited-1On 11 March 1965 Freddie Hubbard (trumpet), George Coleman (tenor saxophone), Ron Carter (bass) and Stu Martin (drums) along with Herbie Hancock were at Rudy Van Gelder’s Studio in Englewood Cliffs, New Jersey with producer Alfred Lion to record the pianist’s new Blue Note album. The first song they put down was ‘Maiden Voyage, followed by ‘Little One’ and ‘Dolphin’s Dance’, but in the final analysis these tracks were rejected as unsuitable.

Six days later on 17 March Hancock was back in the same studio and this time he cut not just a defining album in his career, but a defining album for Blue Note Records and jazz. Whereas there was something missing at that first day’s recording nothing was missing, not a note, not a nuance, there was simply perfection. For their second attempt at recording Herbie’s five compositions it was Tony Williams rather than Stu Martin (Sonny Rollins’s drummer at the time) that was behind the drum kit.

Maiden Voyage is Hancock’s follow-up to Empyrean Isles, and is an album that is totally different in form and feel, aside from the obvious addition of tenor saxophonist George Coleman who, like most of the others, had been playing in Miles Davis’s band for the previous two years. Departing from the hard bop of Hancock’s 1964 album Maiden Voyage is more mellow, with gentle composition that have more of a chamber-jazz vibe – it has even has been called a sound sculpture. But do not for a minute think this makes it in any way less exciting; this is innovative musical exploration of the highest order. Hancock’s time with Miles Davis comes across in his playing, but in no way is this simply a pastiche of Miles’s music. Just listen to the closing crescendo on ‘Survival of the Fittest’: it owes more to Rachmaninoff than Miles Davis.

The album’s title track was originally titled ‘TV jingle’ until Jean Hancock, Herbie’s sister, renamed it, and it sets the tone and the theme for the album. Ironically, many years later, the track was used in a TV commercial by Fabergé sometime later. It is a composition that many artists have covered, including Dianne Reeves who recorded an interesting vocal version in 1996, and pianist Robert Gasper whose fabulous interpretation is on his 2007 Blue Note album, In My Element.

Side 2 opens with the album’s most experimental piece, ‘Survival of the Fittest’ that perfectly reflects the album’s concept – an evocation of ‘oceanic atmospheres’. ‘Dolphin Dance’ is the other genuine classic on this record, deservedly so given Hancock’s skilful writing and equally skilful playing throughout. It’s a tune that offers subtle shifts and changes in both key and the interplay between the soloists. Maiden Voyage is as perfect as an album gets.

Released on 17 May 1965 it has gone on to become one of Blue Note’s most loved releases and it is an album that no self respecting jazz collection should be without.

Listen to Maiden Voyage on Spotify and buy it from iTunes

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Johnny HodgesJohnny Hodges passed away this day in 1970, but left a legacy like few other saxophonists. He was a musician of considerable authority when playing with a band, he possessed technical mastery of his instrument an individualistic style and use of vibrato that made him admired by many. His sax playing had a beautiful tone and he was able to play long flowing runs like few others. His playing of the blues was particularly sensuous and his way with a ballad made him the quintessential Ellington sideman and an in demand player to accompany others.

After learning to play both piano and drums he first played soprano sax before becoming a specialist with the alto saxophone. He went to New York while still in his teens where he played with a few bands; having been inspired by Sidney Bechet he also took guidance from the jazz pioneer.

Johnny joined Duke Ellington’s Orchestra in 1928, playing on his first record in March and from the very first he became pivitol to the Ellington sound as well as co-writing some of Duke’s recordings. He toured Europe with Ellington in both 1933 and 1939, and three years later he played on the classic, ‘Things Ain’t What They Used To Be’ helping to make it so distinctive as well as a big hit record.

After playing on so many wonderful Ellington records Hodges left in 1951 to work within a small group environment, something he had already done within the Ellington organization. His first session for Norgran was in January along with two other Ellingtonians, trombonist Lawrence Brown and Duke’s long serving drummer, Sonny Greer. The album was called Castle Rock, the title track was a hit single and the album was later reissued on Verve. A month later the same players recorded an album entitles, Memories of Ellington that was reissued as In A Mellow Tone by Verve
Johnny Hodges

Pee Wee Russell,Johnny Hodges, and Chu Barry

Over the next decade or so Johnny recorded a lot of albums for both Norgran and Verve. Among the highlights were Ellingtonia ’56, Johnny Hodges with Billy Strayhorn and the Orchestra and The Big Sound. He also worked with Ellington himself and recorded Duke Ellington And Johnny Hodges Play The Blues – Back To Back and Duke Ellington And Johnny Hodges Side by Side that show off the wonderful musicianship of the long time colleagues.
In the early 1960s he rejoined Ellington’s band and was in the studio when Duke and Sinatra recorded the album, Francis A. And Edward K in December 1967. Among the songs they recorded was the beautiful ‘Indian Summer’ with a sumptuous Billy May arrangement. It is among the best songs Sinatra recorded for Reprise and Johnny Hodges sax solo certainly adds to the overall effect. So enthralled was Sinatra during its recording that when it ends he’s half a second late in coming in to sing.

Hodges last appearance was at the Imperial Room in Toronto, less than a week before his death. He suffered a heart attack during a visit to his dental surgeon in May 1970. Hodges performance on Sinatra’s record was a fitting elegy to a great saxophonist.

Listen to Johnny with Frank Sinatra on Indian Summer

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F708400F04E8B0C80B02CA97A545DA1DMinaLima is a highly regarded graphic-design studio based in London, founded in 2010 by Miraphora Mina and Eduardo Lima. Unique and imaginative in style, the studio is renowned as the design team behind one of the largest film franchises of all time, Harry Potter™, which garnered them worldwide attention and accolades. Inspired by their genius for creating idiosyncratic artworks based on magical worlds, who could better illustrate Sylva, Snarky Puppy’s concept album recorded with the Metropole Orkest than Miraphora Mina. Here they explain how the collaboration came about.

MinaLima is closely associated with the Harry Potter universe. Could you remind us what you did earlier for this worldwide fantasy hero?

We designed the ‘graphic props’ for all eight Harry Potter films. This meant objects such as the ‘Marauder’s Map’, the ‘Daily Prophet’ newspapers and all the packaging in the ‘Weasleys’ Wizard Wheezes’ shop. We even designed some fictional record albums for the films!

Could you explain how you met Snarky Puppy?

Actually, it was my drummer son Luca who introduced me to Snarky Puppy, and I was hooked straightaway! Inspired by their music, I contacted Michael [League] simply to inquire if they’d ever need a designer, unaware that a new album was in the making. Michael’s swift and enthusiastic reply cemented this creative collaboration.

How did you match Snarky Puppy’s music with your personal design work?

I was fortunate to get to listen to the raw files early on and made sure I really knew them well before having any ideas about the artwork. Michael explained the inspiration behind each piece of the suite, which helped to visualise the stories he was telling in his music. Our work as designers for film is all about storytelling through visuals, so this was familiar territory for me. The album is so full of contrasts, colours and light, and even has moments of menace and drama. I wanted to describe this narrative in the artwork, so came up with the concept of an obscure forest whose shadows become a multitude of colours; a kind of implausible situation that only happens in dreams!

Could you tell us more about Sylva, as a concept album with music and art?

Early on Michael had made it clear to me that this album was intended to be a collaboration of creative ideas, both between Snarky Puppy and the Metropole Orkest, and from the point of view of the visuals. Also, that the five pieces were integral to the suite, rather than being individual songs. There was even talk of not having a title! But when I suggested Sylva (from the word Sylvan, meaning a wooded area) it suddenly seemed right to both of us.

Do you have other projects with Snarky Puppy in the works?

Family Dinner 2 is on the cards … Having been present at the recording I’m very excited about continuing this collaboration!

This is Snarky Puppy’s new album, this is Sylva.

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Billie and dog_edited-1At UK 8 pm time there is a special two hour BBC radio show to celebrate the centenary of Billie Holiday. It stars Madeline Bell, Gloria Onitiri and Rebecca Ferguson. With the BBC Concert Orchestra conducted by Mike Dixon and featuring Guy Barker on trumpet and Ben Castle on tenor sax. The concert tells the story of Billie Holiday’s dramatic rise from poverty and prostitution to becoming one of the most influential jazz singers of all time. Among the songs, the classics ‘What A Moonlight Can Do’, ‘Don’t Worry About Me’, ‘Strange’ Fruit’, ‘Don’t Explain’, ‘I Gotta Right to Sing the Blues’ and God ‘Bless the Child’.

You can listen from anywhere around the world, here

Get God Bless The Child, our brand new Billie Holiday compilation, here

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Cyndi April 11th at 2:47pm

Billie has been the soundtrack of my life for many years. She was just pure magic. Her voice soothes my soul.

Ben WebsterIt’s impossible not to be beguiled by Ben Webster’s tenor saxophone. He’s one of the greatest exponents on this sensual instrument, and yet he’s sometimes overshadowed by The Hawk and Pres, but he’s most definitely the equal of both of them. Today would have been ‘Frog’s’ 106th birthday, so what better excuse do we need than to celebrate his music?

Webster played with striking rhythmic momentum and had a rasping tone that added so much to both his own records and the numerous jazz greats he accompanied, from Billie and Ella to Duke Ellington and so many more during a career that spanned five decades.

Born in Kansas City, Missouri in 1909 Ben Webster took up the saxophone relatively late, having at first been a professional pianist after studying at University in Ohio. He recorded with for Blanche Calloway’s band and Bennie Moten’s band in 1931, at the time it included Count Basie, Jimmy Rushing and Hot Lips Page, as well as working with Andy Kirk’s band that featured the extraordinary, Mary Lou Williams.

In the mid 1930s Ben moved to New York to play with Fletcher Henderson’s Orchestra before joining Duke Ellington briefly. Four years later he became a featured soloist with Ellington’s Famous Orchestra, where Johnny Hodges helped Webster develop his style. Webster left Ellington and began to freelance, playing with Charlie Barnet’s Orchestra and with Johnny Hodges and his Orchestra.

His first session as a leader was for Norman Granz’s Norgran label in 1953 with Oscar Peterson, Barney Kessel, Ray Brown and J.C. Heard. The subsequent release was called The Consummate Artistry Of Ben Webster and it is so apposite. It was subsequently repackaged by Verve as Ben Webster – King of the Tenors. It includes ‘Tenderly’ which is one of the sublime moments of tenor-saxophoney.

Besides his own recordings Webster accompanied, Billie Holiday, Harry Sweets Edison, Ella Fitzgerald, Buddy Rich, as well as making the album, Coleman Hawkins Encounters Ben Webster, it’s one that should be in every jazz fans’ collection..

By 1964 Webster relocated at first to London, and then Amsterdam before finally settling in Copenhagen, Denmark. He worked in Europe with visiting musicians including Duke Ellington, but he suffered a cerebral hemorrhage in Amsterdam, in September 1973, following a performance in Leiden.

If you do nothing else today listen to Tenderly

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getzAs the five musicians, one of whom was accompanied by his wife, arrived at A & R Studios in New York City on Monday evening 18 March 1963 none would have guessed that they were about to give jazz an almost unprecedented shot in the arm. Jazz was still, at this point, closer to the mainstream of popular taste, but it was still a minority interest

The musicians were, saxophonist Stan Getz along with pianist Antonio Carlos Jobim<, Tommy Williams on bass, drummer Milton Banana (he was born Antônio de Souza), and the Brazilian guitarist whose wife was with him was, Joao Gilberto, her name as we now all know is Astrud, but at this point the 22 year old had not even recorded a song. Getz thought of this as another record to capitalise on the success of Jazz Samba that he and Charlie Byrd had recorded a year earlier and had just finished its week long run at the top of the Billboard album chart. A month earlier Getz had recorded with guitarist Luiz Bonfa and that album would be called Jazz Samba Encore.

From the cover painting by Olga Albizu, admittedly from Puerto Rico, to the soft samba sounds, to the subject of the songs – Corcovado and Ipanema are in Rio de Janeiro – Getz/Gilberto oozes Brazil from every groove.

Getz/Gilberto came a year later and made No.2 on the Billboard charts and went on to spend close to two years on the best seller list. In 1965 it won the Grammy for Best Album of the Year across all musical genres, the first time a jazz album was so rewarded, and has subsequently continued to be one of the half dozen best selling jazz albums of all time. Aside from all that it proves conclusively that jazz can be commercial and artistically satisfying.

Everything that could possible be said about this album has already been said, but… It was an after thought in the studio to get Astrud to sing in English on the two tracks as it was felt they needed some tracks that could get radio airplay. Norman Gimbel who subsequently wrote English lyrics to many classic Brazilian songs wrote the lyrics to ‘The Girl From Ipanema’. He also wrote the lyrics to ‘Sway’ the Mambo classic that was a hit for Dean Martin and much later the words to Roberta Flack’s ‘Killing Me Softly With His Song’. Astrud’s beautiful vocal on ‘The Girl From Ipanema’ helped propel the 45 release onto best seller charts around the world, including No.5 in the USA where it also won a Grammy as Song of the Year.

The musicians were back in the studio the following day to finish off the album. When Billboard reviewed the LP in April 1964, Verve waited a year to release it after the success of Getz’s earlier Brazilian albums ere doing well, they simply said, “The sensuous tenor sax of Stan Getz combines with the soft edged voice of Brazil’s famous Joaõ Gilberto in a program of lovely Brazilian music.” So possibly they, and everyone else, did not expect Getz/Gilbert to do as well as it did.

Hear it here on Spotify

For iTunes go here

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