Manha De Carnival/Balanco No Samba/Melancolico/Entre Amigos/Chega De Saudade/Noite Triste/Samba De/Uma Nota So/Bim Bom
Big Band Bossa Nova was the follow up album to the hugely successful Jazz Samba collaboration with Charlie Byrd. Orchestral arrangements are by Gary MacFarland. (US:13)
“Latin rhythms, Stan Getz sax, big arrangements. It works. Its not as mellow as I thought it would be, and its certainly more an American jazz record in ambience and intent than Brazilian or MOR mood music.”
“Getz is the featured soloist and plays with his usual amount of confidence and talent. The album - a commercial product responding to the early 1960s craze for bossa nova music - wouldn't be quite the same were it not for McFarland's elegant arrangements.”
“It works both as a jazz album and as AOR-MOR music for the sophisticated masses, but adds a slightly more American touch to the Latin rhythms. Surprisingly free of cliché, it's always a pleasure to listen to, and Getz's breezy solos are perfect for warm summer evenings.”
“It creates a really nice ambiance, sort of bright and thoughtful with a bit of a free spirited approach. The music is warm and friendly yet there are a few chances taken with dissonance here and there, but for the most part I think everyone can enjoy this. Stan's saxophone work is really lovely and muted yet clearly he's so very skilled, it's great punctuation to the music without drowning out the other instruments.”
“Stan Getz does his thing, but the genius of the recording lies in the orchestral arrangements by Gary MacFarland and his orchestra. Sparse, unexpected, consistently unpredictable, the familiar bossa nova standards are reinterpreted in a new engaging way that is a delight to experience. Horns swell in and out at seemingly random points, single instruments throw up discordant harmonies that somehow resolve beautifully. The record flows yet surprises at every turn.”
“The high point is Bonfa's Manha De Carnaval which, along with Jobim's Insensatez, is the crowning glory of bossa nova. Getz's playing is once again a marvel of expressive restraint."
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