In the spring of 1961 the U.S. Government was instrumental in chasing the face of modern jazz. It was when guitarist Charlie Byrd was sent on a diplomatic tour of South America; the U.S. State Department's idea that exporting culture was a positive political tool. In this case, however, it was more a case of what Byrd was about to import to America.
Upon his return Byrd met Stan Getz at the Showboat Lounge in Washington DC and later, at his home, played him some bossa nova records by João Gilberto and Antonio Carlos Jobim that he had bought in Brazil. The next step was to convince Creed Taylor who had taken over the running of Verve Records from Norman Granz that making a Latin influenced record was a good idea. Taylor anxious to make his mark saw merit in the idea and in October 1961 Getz and Byrd did some initial jazz samba recordings, but these remained unissued.
However, on the day before Valentine's in 1962 Charlie’s guitar and bass playing brother, Gene Byrd, Keter Betts on bass, drummer, Buddy Deppenschmidt and Bill Reinchenbach on percussion. joined Charlie and Stan Getz at All Souls Unitarian Church in Washington, DC to take advantage of the excellent acoustics. Betts and Deppenschmidt had been to South America with Byrd so they were well versed in the sound and most importantly the rhythms of Brazil. As Creed Yaylor said shortly afterwards, "It was Charlie Byrd’s idea and none of us expected it to be this big."
The tracks they recorded were released as Jazz Samba in April 1962 and in the middle of September it entered Billboard’s pop album chart and on 9 March 1963 it made No.1; and while it spent just a week at the top it spent a total of 70 weeks on the best seller list, this truly was a groundbreaking record. It made bossa nova the coolest music on earth. In November 1962, one of the tracks on the album, ‘Desafinado’ also made No.15 on the singles chart which did so much to help sell the album. Together, these two records were not only the catalyst for a craze but also extremely lucrative for Verve Records.
It’s interesting to note that Dizzy Gillespie, always a champion of Latin jazz played ‘Desafinado’ at the Monterey Jazz Festival in 1961, possibly at the urging of his then pianist, Brazilian, Lalo Schifrin, but also because Dizzy had also toured Brazil in the summer of 1961 - Brazilian rhythms were in the air, and they've never left us.
Even before Jazz Samba entered the charts Taylor put Getz with the Gary McFarland Orchestra to record Big Band Bossa Nova and Cal Tjader cut ‘Weeping Bossa Nova (Choro E Batuque)’. Before the year was out Ella Fitzgerald recorded ‘Stardust Bossa Nova’ and on New Year’s Eve the album, Luiz Bonfa Plays And Sings Bossa Nova that features the guitarist with Brazilian pianist, Oscar Castro Neves was recorded. Big Band Bossa Nova made No.13 on the Billboard chart - Bossa Nova was big.
On 27 February 1963 Stan Getz recorded Jazz Samba Encore, but with none of the musicians from the original, this album featured Antonio Carlos Jobim on piano and guitar along with Luiz Bonfa; this was far less successful than the first album, which is often the way with a phenomena, but for many people it is a more satisfying album.
Check out our Rhythms of Brazil Spotify playlist