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Samba de Uma Nota Só

Samba de Uma Nota Só

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Samba de Uma Nota Só

January 25 was the birthday anniversary of Brazilian composer Antonio Carlos Jobim.

The man so lovingly bent over his guitar is Charlie Byrd, who, along with saxophonist Stan Getz, was a major player in his own modest way in introducing the infectious Brazilian bossa nova (jazz samba) compositions of Jobim and so many of his countrymen in the early 1960s.

Byrd and Jobim are no longer with us, but I like to imagine them making those deliciously insinuating sounds in some smoky little celestial boîte.

This photo of Charlie Byrd with brother Joe Byrd playing bass just over his shoulder was made during an engagement at the Washington jazz club Blues Alley in April, 1995. Not sure if he was playing Jobim's Samba de Uma Nota Só (One Note Samba) at this particular moment, but as I so often enjoyed hearing him performing it live, and continue to relive those moments with the classic "Jazz Samba" album, I think the title fits.
Listen and see if you don't agree (*)

Captured on Kodak TMZ shot at 6400 in my (appropriately quiet) little EOS-RT in the low light
of Blues Alley, the photo makes its first appearance here, in honor of "Tom" Jobim's birthday.

©2016 Steve Ember

(*) https://youtu.be/0-vlX8uRLMQ

Comentarios 3

  • Berthold Klammer 29/01/2016 17:27

    Great document and a stunning shot capturing the spirit of jazz!! regards Berthold
  • Susanne Kämmner 27/01/2016 22:18

    Who doesn´t remember the bossa nova?
    With this soulful portrait, you have captured an intense moment filled with dedication and passion, Steve. I think, it is a wonderful reminiscence of Charlie Byrd and simultaneously of the dance style bossa nova what - unfortunately - only had been a popular dance until the mid-1960s.

    • Steve Ember 03/05/2024 3:58

      Thank you, Susanne. Yes, Charlie Byrd had both dedication and passion for the music he played, whether Brazilian, good ol' down home blues, or Bach. He was a fantastically broad based musician with an unassuming personality, and very high standards in what he chose to play - or record. As to dance styles, they come and go, and bossa nova became, for a short while, an over-commercialized fad. But the "real goods" are, to me, timeless. I am reminded of this any time I play the "Jazz Samba" album or other recordings of its era. The music is as fresh, the rhythms as infectious as when the albums came out in the 60s and I purchased them in their original vinyl incarnations!