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Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. According to Deppenschmidt, Byrd was in fact reluctant to record bossa nova. It took him and Betts about six months to win the guitarist over. But Deppenschmidt insists it was he who asked Ginny to aid his cause, and that she too was initially unmoved. When Byrd finally did decide to approach Riverside with the bossa nova idea, the label said no.
Another point of contention is exactly how Stan Getz entered the picture. Charlie Byrd did not know Getz well, although Betts had become friends with the tenor giant during his tenure with Dinah Washington. He says he recommended Paul Desmond as an alternate choice. Joe Byrd, for his part, says it was Ginny who suggested that Getz get the call. Betts, on the other hand, remembers Getz sitting in with the band at the Showboat Lounge in D. But Betts seems certain that the Getz drop-in took place before the recording session.
Latin music idioms like mambo and rhumba had already gained a foothold in the U. Carmen Miranda, with her garish fruit-basket crowns, had given mainstream American audiences a taste some would say a tasteless one of Brazil.
Verve tacked the single onto the end of its reissue. Deppenschmidt is still surprised that the longer take leading off the album was actually used. Charlie has no choice but to solo over a train wreck. Then bass and drums vamp alone for roughly 24 bars, and Getz makes a devastating solo entrance. The montuno feel is solid; the problem is resolved.
Getz skirts around the main melody but does not play it; his solo chorus beginning at defies belief. The recording date was Tuesday, February 13, It almost gave me the feeling of a junior high school stage, like if you were going to see your kid in a play. There were no baffles on the walls, no glass window.
Ed Green was the engineer, and he had done all the recordings I had done with Charlie, with the exception of Blues Sonata. There were two mikes placed on the stage. The church had pretty nice acoustics, good natural reverb. Not too much would have been available. When it was over, Taylor and Getz caught the first plane they could back to New York. The American rhythm section was too stiff for his taste; the bossa nova feel, in his view, demanded a more behind-the-beat approach.
But the odd thing about it was it cut through on radio, and it was a hit. They came straight to my office at Verve because they had no music business connections here.