| Tinymixtapes |
 Looking back on his bossa nova exploits, this may be the record that Stan Getz learned the most from. Luiz Bonfa, the sidekick for this session, was one of the founders of bossa popularity, an absolute giant in Brazil at the time of this recording. He played with a subtlety, though, that few pop stars, and, indeed, jazz musicians, seemed capable of. So, as opposed to the blending of the styles that Getz had become known for, recording with such a distinctive personality as Bonfa would force him to conform to Bonfa’s style perhaps more than on past outings. In many cases, Getz rose to the challenge, making this record a true treat, and easily one of the best of the series.
Numbers like the opening "Sambalero," "Two Note Samba," and "Menina Flor," where Getz carries the melody, show how far he had come from the more indulgent bop soloing. Instead, he sticks within figures, giving the songs a pop storyline despite a lack of words. Bonfa is equally charming, though in a predictably less pronounced manner. He is content to ride the chords in the background, coming to a flourish as Getz takes a breath. The interplay is seamless, but Bonfa’s presence is always there, perhaps waving at Getz to finish up the solo or lay off so many triads....full text |
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| Answers |
| Here's some more bossa nova from Stan Getz when the bloom was still on the first Brazilian boom. This time, however, on his third such album, Getz relies mostly upon native Brazilians for his backing. Thus, the soft-focused grooves are considerably more attuned to what was actually coming out of Brazil at the time. Two bona fide giants, Antonio Carlos Jobim and Luiz Bonfá (who gets co-billing), provide the guitars and all of the material, and Maria Toledo contributes an occasional throaty vocal. Getz injects more high-wailing passages into his intuitive affinity for the groove, even going for some fast bop on "Un Abraco No Getz," and Bonfá takes adept care of the guitar solos against Jobim's rock-steady rhythm. Clearly Jobim's songwriting contributions -- "So Danco Samba," "How Insensitive," and "O Morro Nao Tem Vez" -- would have the longest shelf life, and though the album didn't sell as well as its two predecessors, it certainly helped break these tunes into the permanent jazz repertoire. Avid bossa nova fans will certainly treasure this album for the lesser-known Bonfá tunes. ~ Richard S. Ginell, All Music Guide...full text |
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| Billboard |
| Here's some more bossa nova from Stan Getz when the bloom was still on the first Brazilian boom. This time, however, on his third such album, Getz relies mostly upon native Brazilians for his backing. Thus, the soft-focused grooves are considerably more attuned to what was actually coming out of Brazil at the time. Two bona fide giants, Antonio Carlos Jobim and Luiz Bonfá (who gets co-billing), provide the guitars and all of the material, and Maria Toledo contributes an occasional throaty vocal. Getz injects more high-wailing passages into his intuitive affinity for the groove, even going for some fast bop on "Un Abraco No Getz," and Bonfá takes adept care of the guitar solos against Jobim's rock-steady rhythm. Clearly Jobim's songwriting contributions -- "So Danco Samba," "How Insensitive," and "O Morro Nao Tem Vez" -- would have the longest shelf life, and though the album didn't sell as well as its two predecessors, it certainly helped break these tunes into the permanent jazz repertoire. Avid bossa nova fans will certainly treasure this album for the lesser-known Bonfá tunes. ~ Richard S. Ginell, All Music Guide...full text |
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