#ONE NOTE SAMBA STAN GETZ PLUS#

Maggin, author of Stan Getz: A Life in Jazz (Morrow, 1996), writes that Getz “prevailed upon Verve executives to add a clause to contract indemnifying him against possible suits by Charlie.”ĭeppenschmidt’s case, as Yogi Berra might say, is deja vu all over again. “All Stan had to do was come in and play,” the guitarist protested in a 1963 interview with Leonard Feather in DownBeat. Byrd also grumbled publicly about Getz’s Grammy, not to mention his disproportionate monetary rewards.

#ONE NOTE SAMBA STAN GETZ PLUS#

It took him nearly three years to secure $50,000 plus future royalties on the album. Annoyed by the fact that he had received routine compensation for a hit record, Charlie Byrd sued Verve (then owned by MGM) in September 1964. (And drummers, in particular, have a hard time getting credit for anything.) Moreover, it was Getz and Byrd whose names appeared on the album cover for them to have received the lion’s share of recognition is not surprising.īut the success of Jazz Samba caused substantial friction between the two co-leaders themselves. Ideas and achievements go uncredited every day, in every field of human endeavor. In a lucid four-page press release he recently sent to a wide cross-section of the jazz media, Deppenschmidt wrote: “ was my conception and would not have happened without the combined efforts of Keter and me….”īetts declined to join the lawsuit and would rather let sleeping dogs lie, but his version of events agrees with Deppenschmidt’s in many respects.īringing legal action some 40 years after the fact, with no written contracts to support one’s case, may seem a quixotic gesture. Roughly three years ago, the drummer filed suit against Verve and its parent company, Universal Music Group, for back and future royalties on Jazz Samba, which continues to sell respectably and has had its tracks anthologized at least three dozen times. In his liner notes to the 1997 Verve reissue of Jazz Samba, John Litweiler wonders, “Would North American audiences have even known of bossa nova if not for Byrd?”įrom Buddy Deppenschmidt’s standpoint, the question is exasperating. Jobim is now nearly as integral to the jazz canon as Rodgers & Hart, rhythm changes and the blues.

But in the coming decades, bossa nova would have a truly significant and lasting impact on jazz. As Dave Gelly writes in his Stan Getz biography Nobody Else But Me (Backbeat, 2002), “ the height of the craze one could buy bossa nova ballpoint pens, bossa nova gymshoes and bossa nova foldaway plastic raincoats.”Įveryone from Eydie Gormé to Elvis Presley had a go at a bossa nova hit, and the jazz world saw a wave of now-forgotten bossa nova statements by Quincy Jones, Charlie Rouse, Milt Jackson, Shorty Rogers and more. The American masses not only warmed to the music, but also succumbed to a bout of consumer-culture silliness. It is Jazz Samba that gave American listeners their first taste of “Desafinado” and “One Note Samba” and set the ’60s bossa nova craze in motion. Joe (Gene) Byrd, the youngest of Charlie’s three younger brothers, played rhythm guitar or second bass, and Bill Reichenbach played additional drums and percussion. He and Charlie Byrd, the co-leaders, were joined by Byrd’s working rhythm section: Keter Betts on bass and Buddy Deppenschmidt on drums. In our day Jazz Samba has been overshadowed by 1964’s Getz/Gilberto, the undisputed masterpiece of the genre, with its monster hit “The Girl from Ipanema.” Jazz Samba, in contrast, featured Getz with American, not Brazilian, musicians. In time it would become, in Morales’ phrase, “the first truly panhemispheric music of the Americas.” The new idiom’s seductive sound, unusual song forms and suitability for jazz improvisation had a profound impact on most American jazzers who heard it. He and guitarist and vocalist João Gilberto pioneered a new, urban, sophisticated music called bossa nova, derived from the faster, more symmetrical samba rhythm. Antonio Carlos Jobim had been influenced by West Coast “cool” well before his first in-the-flesh collaborations with American jazz musicians. The role of jazz in fostering amity and exchange between the two nations cannot be overstated. “Ahead of the rest of Latin America, Brazil posited itself as another country in the Americas with a strong enough history and cultural development to become a cultural peer of the United States,” writes Ed Morales in The Latin Beat (Da Capo, 2003).

In the process, he’s raising new questions about how the ’60s bossa nova craze came into being. Buddy Deppenschmidt and friends, Brazil, 1961ĭrummer Buddy Deppenschmidt is speaking out about his role in the recording of Stan Getz and Charlie Byrd’s 1962 classic Jazz Samba.

One note samba stan getz