Bossa Antigua | ||||
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Studio album by | ||||
Released | 1965 | |||
Recorded | July 28 & 29, 1964, August 20, 1964 and September 8, 1964 RCA Studio A, New York City | |||
Genre | Jazz | |||
Length | 58:45 | |||
Label | RCA Victor LPM 3320 | |||
Producer | George Avakian | |||
Paul Desmond chronology | ||||
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Bossa Antigua is an album recorded by American jazz saxophonist Paul Desmond featuring performances recorded in 1964 which were released on the RCA Victor label. [1] [2] [3] The album title is a word play on bossa nova (in English, "the new thing"), the genre of Brazilian music that inspired the album. "Bossa Antigua" loosely translates in English to "old thing", though "antigua" is a Spanish word rather than Portuguese ("bossa antiga" would be a more accurate Portuguese translation of Desmond's joke). [4] Antigua is also the name an island in the West Indies popular with North American tourists.
Desmond recorded the majority of Bossa Antigua between July 28 and September 8, 1964, which coincided with the height of the popularity of bossa nova in the United States. Bossa nova had been embraced and popularized by North American musicians following the release of Stan Getz's album Jazz Samba in 1962. Other American jazz saxophonists who subsequently made bossa nova recordings include Zoot Sims, Coleman Hawkins, Gene Ammons, Cannonball Adderley and Desmond himself, with his 1963 album Take Ten . The genre's biggest chart success in the U.S. was Getz's recording of "The Girl from Ipanema", which peaked at number five in the U.S. on the Billboard Hot 100 singles chart on July 17, 1964. [5]
Desmond would continue to incorporate Brazilian rhythms and songs into his music for the rest of his life, recording an album of Brazilian music in 1969 ( From the Hot Afternoon ), and the songs "Wave", "Manhã de Carnaval", and "Meditation" in 1975 with his final working group for the albums Live and the posthumous Like Someone in Love .
Review scores | |
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Source | Rating |
Allmusic | [6] |
The Penguin Guide to Jazz Recordings | [7] |
Record Mirror | [8] |
Allmusic awarded the album 4 stars, stating, "The playing is wonderful throughout, though just missing the full-throttle inspiration of Take Ten ". [6]
All compositions by Paul Desmond except where noted.
Stan Getz was an American jazz saxophonist. Playing primarily the tenor saxophone, Getz was known as "The Sound" because of his warm, lyrical tone, with his prime influence being the wispy, mellow timbre of his idol, Lester Young. Coming to prominence in the late 1940s with Woody Herman's big band, Getz is described by critic Scott Yanow as "one of the all-time great tenor saxophonists". Getz performed in bebop and cool jazz groups. Influenced by João Gilberto and Antônio Carlos Jobim, he also helped popularize bossa nova in the United States with the hit 1964 single "The Girl from Ipanema".
João Gilberto was a Brazilian guitarist, singer, and composer who was a pioneer of the musical genre of bossa nova in the late 1950s. Around the world, he was often called the "father of bossa nova"; in his native Brazil, he was referred to as "O Mito" . In 1965, the album Getz/Gilberto was the first jazz record to win the Grammy Award for Album of the Year. It also won Best Jazz Instrumental Album – Individual or Group and Best Engineered Album, Non-Classical. Nominated at the Grammy 1978 in the category Best Jazz Vocal Performance, album Amoroso, and winner category in Grammy 2001 with João voz e violão Best World Music Album.
Getz/Gilberto is an album by American saxophonist Stan Getz and Brazilian guitarist João Gilberto, featuring pianist and composer Antônio Carlos Jobim, who also composed many of the tracks. It was released in March 1964 by Verve Records. The album features the vocals of Astrud Gilberto on two tracks, "Garota de Ipanema" and "Corcovado". The artwork was done by artist Olga Albizu. Getz/Gilberto is a jazz and bossa nova album and includes tracks such as "Desafinado", "Corcovado", and "Garota de Ipanema". The last received a Grammy Award for Record of the Year and started Astrud Gilberto's career. "Doralice" and "Para Machucar Meu Coração" strengthened Gilberto's and Jobim's respect for the tradition of pre-bossa nova samba.
Jazz Samba is a bossa nova album by Stan Getz and Charlie Byrd released by Verve Records in 1962. Jazz Samba signaled the beginning of the bossa nova craze in America. Stan Getz was the featured soloist and the tracks were arranged by Charlie Byrd, who had first heard bossa nova during a tour of Brazil in 1961.
Charlie Lee Byrd was an American jazz guitarist. Byrd was best known for his association with Brazilian music, especially bossa nova. In 1962, he collaborated with Stan Getz on the album Jazz Samba, a recording which brought bossa nova into the mainstream of North American music.
Cannonball's Bossa Nova is a 1962 album by jazz musician Julian "Cannonball" Adderley. First released on Riverside in 1963, the album was reissued on Capitol Records several times with different covers and titles.
Astrud Gilberto was a Brazilian samba and bossa nova singer and songwriter. She gained international attention in the mid-1960s following her recording of the song "The Girl from Ipanema".
Jazz Samba Encore! is a bossa nova album by Stan Getz and Luiz Bonfá, released on the Verve label. It is bossa nova in a slower groove. It contains a mix of Jobim standards as well as originals from Bonfá. Performers also include Antonio Carlos Jobim and vocalist Maria Toledo, Bonfá's wife. The painting on the cover is a piece by the influential New York based abstract expressionist Olga Albizu from Puerto Rico.
What's New? is an album by jazz saxophonist Sonny Rollins, his second for RCA Victor featuring performances by Rollins with Jim Hall, Bob Cranshaw, Ben Riley, Dennis Charles, Frank Charles, Willie Rodriguez and Candido. The cover illustration was by Mike Ludlow.
Soul Samba is an album by American saxophonist Ike Quebec recorded in 1962 and released on the Blue Note label. It was Quebec's final recording before his death in January 1963.
Bossa Nova Bacchanal is an album by American saxophonist Charlie Rouse recorded in 1962 and released in 1963 on the Blue Note label. It was the only album Rouse recorded as a leader for Blue Note. The CD reissue includes a bonus track recorded in 1965.
Big Band Bossa Nova is a 1962 album by saxophonist Stan Getz with the Gary McFarland Orchestra. The album was arranged and conducted by Gary McFarland and produced by Creed Taylor for Verve Records. This was Getz's second bossa nova album for Verve following Jazz Samba, his very successful collaboration with guitarist Charlie Byrd.
Two of a Mind is an album recorded by American jazz saxophonists Paul Desmond and Gerry Mulligan featuring performances recorded in 1962 which were released on the RCA Victor label. The album is the second of two albums Mulligan and Desmond recorded in a pianoless quartet setting. The first, recorded in 1957, was Blues in Time.
Take Ten is an album recorded by American jazz saxophonist Paul Desmond featuring performances recorded in 1963 which were released on the RCA Victor label with cover art by Andy Warhol.
Glad to Be Unhappy is an album recorded by American jazz saxophonist Paul Desmond featuring performances recorded in 1964 which were released on the RCA Victor label.
Easy Living is an album recorded by American jazz saxophonist Paul Desmond featuring performances recorded between 1963 and 1965 which were released on the RCA Victor label.
What the World Needs Now: Stan Getz Plays Burt Bacharach and Hal David is an album by saxophonist Stan Getz which was released on the Verve label in 1968.
The Dolphin is a live album by saxophonist Stan Getz which was recorded at Keystone Korner and released on the Concord Jazz label in 1981.
Jim Hall was an American jazz guitarist, composer, and arranger. His discography consists of 39 studio albums, 10 live albums, 1 EP, 1 single, 10 videos, and 22 compilations, all released between 1957 and 2016. In addition, he was a sideman on numerous albums by other artists.
Made for Each Other is an album by saxophonist Sonny Stitt recorded in 1968 but not released by the Delmark label until 1972. The album represents Stitt's fourth recording featuring the varitone, an electronic amplification device which altered the saxophone's sound.