'Bossa nova rhythm is very attractive to play to if you’re a musician or a singer because it keeps you afloat. That’s why the jazz people adopted it and it's what Stan Getz saw in it. He saw a nice new carpet that he could roll around on.' Henry Mancini
Jazz had been one of the influences of bossa and with the success of João Gilberto, within Brazil, it was inevitable that eventually the two schools would began to mix. This fusion was encouraged by the US state department in sponsoring such musicians as guitarist Charlie Byrd and flautist Herbie Mann on goodwill tours of South America. When Byrd returned home to Washington DC., he enthused about bossa to the saxophonist Stan Getz and in 1962 the two created Jazz Samba. The record enjoyed unprecedented success for an instrumental album, reaching number one and spending seventy weeks on the chart. Bossa nova captured the imagination of the North American public. Its simplicity and cool sophistication seemed the ideal soundtrack for the consumerist early sixties; a new world of sports cars, hi-fi and bikinis.
Jazz Samba was the vanguard. The architects of Bossa were poets and intellectuals; writers of the calibre of Antônio Carlos Jobim, Vinicius de Moraes and Carlos Lyra and their compositions translated well, reinvigorating jazz with a vital new songbook and a musical lexicon of the highest class. Liberated, jazz musicians – as documented by this edition - proceeded to revel in the fertile pastures of bossa nova.
Bossa's emergence on the world scene would culminate, the following year in the million-selling Getz/Gilberto on Creed Taylor's Verve; an album that featured a song that was to become one of the most popular of the twentieth century, the Jobim-Vinicius composition, Garota da Ipanema (The Girl from Ipanema).

Track Listing:


1. STAN GETZ and CHARLIE BYRD – Desafinado
2. HERBIE MANN - Minha saudade
3. HERBIE M.......
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