Daniel A

Then I will offer you something from the other side of the American bossa spectrum so that you don't have argue about the jazz content; Dave Mackay's and Vicky Hamilton's 'Here', in 5/4, with congas and the "father of Toto" (Joe Porcaro) on drums.

Yes, shuffle bossa has something to it. And the more shuffle, the better. "Bossa" playing often brought out the more restrained and easy going side of Oscar Peterson, which can be a pleasant change for those who are less engaged by his double-time playing.

Here's another favorite of mine from the good year of 1963, featuring the extremely un-Brazilian Elvin Jones on drums:

Thanks for the reply. Although I was more thinking of the type of American bossa which neither tries being Brazilian, nor claims to be bossa nova. It almost has to be reworkings of other popular tunes, because if it's based on some real Brazilian composition it can't help being at least five percent Brazilian. But some things come close, like Oliver Nelson's/Hank Jones' 'Mas Que Nada', turned into a spy spoof movie soundtrack.

Don't derail the thread. I want to discuss American Bossa.

TTK, what are your feelings towards early "American" bossa (~1963) that is not advertised as such? It doesn't claim to be anything else than perhaps "jazz". The rest of Nancy Wilson's 'Moon River' doesn't really live up to the fantastic intro, which I think displays some of the hallmarks of my favorite type of American bossa; it has the rental car ad vibe, totally void of any sense of melancholy.

Was this the last post from Soulstation?

"Whatevs. My point is..." His moniker was explained in some thread 10+ years ago, but I couldn't find it when I tried to search for it a while ago.

Bud Shank seems to have been early out, but it didn't prevent him from releasing "American" bossa nova recordings later on. That said, I like the bossa tracks on albums like "Bud Shank Meets the Sax Section" from 1966, partly because I think it's one of Bob Florence's better efforts. Clare Fischer always seemed to stay closer to "real" bossa nova.

Somewhat chronologically, I believe. But the Christmas album is missing.

Previously: Buddy Montgomery, The Two-Sided Album, Japanese Milestone Now: John Coltrane, A Love Supreme, Nippon Columbia pressing

Small note: it might be everything he composed for other leaders, but not every recording of these compositions; 'The Kicker' was also on the Grant Green album 'Solid', but that version is not included here.

"Records Me"? (A Freudian reference to vinyl?)

If Mosaic=Universal/Blue Note (who digitized all the tapes in 192/24 a couple of years ago) maybe it does not contradict the first statement. They were all released as hi-downloads (I think), but it doesn't say that the fidelity surpasses any previous download, just "LP or CD pressing"...

Seems to be the complete Joe Henderson leader Blue Note recordings plus everything he did with Dorham plus everything composed by Henderson for other leaders during the same period.

It turns out you were right. I checked Hancock's autobiography (which I should have done in the first place) and he says the Santamaria single came out "early 1963". He doesn't specifically mention if it was the first check (though I have read that somewhere before) but it seemed to be an "advance payment" based on the sales of Santamaria's version. And he claims it was Donald Byrd's idea to show the tune for Santamaria in the first place. He also tells that Lion and Wolff tried to make him believe that he would not get to do the album if he didn't turn over the publishing rights to them, but when he refused and headed for the door they backed out and let him have it his way.

A niche release; it's not listed at Discogs.

You might, but in the overall market, downloads are disappearing. https://www.forbes.com/sites/billrosenblatt/2020/09/14/new-riaa-numbers-show-that-cds-are-all-but-dead-and-downloads-are-on-life-support/ Unfortunately, this type of releases doesn't do well enough on the streaming platforms to make them financially viable. The trick when vinyls once again fade away will be to package the release (in whatever digital format) with an attractive physical product that provides additional "value" or a sense of luxury. Coffee table books still seem to do well, but the next step? Maybe a complete coffee table?

Well, thanks to the vinyl only trend this (and other recordings) are being released at all. If and when vinyl once again falls out of favor, CDs alone will not make many releases of this kind profitable. But on the other hand the vinyl only trend is a result (and not the cause) of CDs falling out of favor, so who knows what will happen.

According to Herbie, he got the car at age 22 after receiving his first royalty check, and Santamaria's version was released at some point during 1963, probably after he got the car. But no doubt he made more money on the tune.

I don't play this often, but when I do it's a good listen. I recall it as being a bit rough (for instance, Timmons did not always sound comfortable, maybe on Tom Thumb - it's been too long - but nevertheless I like this version better than Shorter's on BN).

Most probably! There is some killer Jan Hammer in a 1970 trio with Perla and Don Alias, BTW. I would have wanted to have so much more recordings of Hammer from this era.

Who is the "Pete Rose" playing tenor sax on the Chick Corea track? It sounds late 60s-ish.

Yes, the Steig album is fine. And make sure to get the excellent reissue by Jonathan Horwich which contains extra material: https://www.discogs.com/Jeremy-Steig-Flute-Fever/release/7341772