Yeah, I got another copy of Getz/Gilberto with this collection and Getz/Gilberto #2 Live At Carnegie Hall. Also Stan Getz "Big Band Bossa Nova, S.G. w/ Laurindo Almeida, S.G. "Sweet Rain" and several other albums by Stan Getz.
Along with another copy of Brasil '66, I got copies of "The Astrud Gilberto Album" Arranged and Conducted by Marty Paich and "Look To The Rainbow" Astrud Gilberto, Arranged and Conducted by Gil Evans. Good stuff.
I still have a lot to go through, but there are a lot of titles that have to do with that Bossa Nova style.
All the albums so far are in excellent condition, but I'm in the process of cleaning them real good and getting new MoFi inner and outer sleeves on them as I go.
Sorry to hijack the S.M.M. thread, I should have started a new thread.
Satch , this might be of interest to you , it sounds like it may be in the Bossa Nova style
Recording of the MonthRecording of July 2010: The Complete Sinatra-Jobim Reprise Recordings By Robert Baird • July, 2010 Sinatra Jobim: The Complete Reprise Recordings
Concord CRE-32026 (CD). 2010. Sonny Burke, orig. prod.; Lee Herschberg, orig eng.; Hal Gaba, reissue exec. prod.; Charles Pignone, reissue prod.; Larry Walsh, reissue eng.; Dan Hersch, 24-bit remastering. AAD. TT: 58:23
Performance ****
Sonics ****
"Kill the album. Kill the sucker."
Guess who?
Could those words have come from anyone but America's greatest ring-a-ding-ding wannabe gangster, Francis Albert Sinatra? In Sinatra lore, that was what he said to pull the plug on the second of two records he made with bossa-nova boy wonder Antonio Carlos Jobim.
Sinatra's two sets of recording sessions with Jobim were made at Western Recorders, at 6050 Sunset Boulevard in Los Angeles: January 30–February 1, 1967, and February 11–13, 1969. The title of the first album to come from them, Francis Albert Sinatra and Antonio Carlos Jobim—notice whose name is first—included a classic twist: If the kid from Brazil could use three names, then so would Frank.
Released in 1967, this first Jobim-Sinatra record climbed to No.19 on the charts, but did not sell as well initially of his three previous records (Strangers in the Night, That's Life, Francis A. Sinatra and Edward K. Ellington). There's always been the suggestion that Sinatra's bossa-nova albums made him a Johnny-come-lately to the trend. After all, Jazz Samba, the record by Stan Getz and Charlie Byrd that lit the bossa-nova fire in America, was released in April 1962. But, to be fair, Sinatra had flirted with Latin rhythms as early as 1965, on Moonlight Sinatra.
Late or not, both records sound like nothing else in the Sinatra catalog. From the opening bars of the "The Girl from Ipanema," in which Jobim sings the second verse, then gamely duets with Sinatra's major-league instrument, it's clear, at least on F.A.S. and A.C.J., that Frank had never before sung so softly. In "If You Never Come to Me," his voice is so light that it often nearly cracks from lack of breath. This lightness forces Sinatra to dig deep for the fine, wave-like textures that appear here in his voice, as well as an emotional fragility and subtlety that he really never found again. Three tunes on the record are not Jobim compositions, yet even in these—such as "Change Partners," by that noted bossa-novist Irving Berlin, here given a Latin flair by Claus Ogerman, who arranged everything for the first album—Sinatra sounds out of his element, reaching for something inside he's never quite tapped into before. And on the sexy Sinatra scale, his vocal performance on "Quiet Nights of Quiet Stars (Corcovado)," paired with Ogerman's lush orchestral arrangement, is easily one of the most seductive bedroom ballads ever recorded by this master of the form
