Maria Toledo

Stan Getz & Luiz Bonfa – Jazz Samba Encore!
Verve V6-8523, MGM Records, USA, 1963

Musical Thrift Store Treasures is starting to look more and more like a Who's Who Named Maria. The newest addition in this category is the singer Maria Toledo (1937-2010), the first singer to record bossa nova with Stan Getz, and married to the composer (and Getz collaborator) Luiz Bonfa. Jazz Samba Encore! features besides Getz, Toledo, and Bonfa, also Antonio Carlos Jobim, another Brazilian composer (beside Bonfa) whose fame did in retrospect outshine Getz'. Jazz Samba Encore! was the follow up album to the hugely successful Jazz Samba (Stan Getz with Charlie Byrd) and the precursor to Getz/Gilberto, an even huger success than Jazz Samba. While Jazz Samba is a very familiar record (with the hit Desafinado) in numerous collections, and Getz/Gilberto (with its Girl from Ipanema) a requirement for any record collection, I had never seen or heard Jazz Samba Encore! A simple on-line inquiry to these three records show that there is a fourth one in the "Getz goes bossa nova series". Getz/Gilberto Volume 2 comes like the other three with a signature painting by Olga Albizu on the cover.

Listen to the song Menina Flor, written by Luiz Bonfa and Maria Toledo.

Hot Rhythm

Cal Tjader Mambo Quintet – Ritmo Caliente!
Fantasy Records, 3-216, 1957, San Francisco

The 1950s was the decade in which the 10" 78 rpm records were gradually replaced with the 12" 33 rpm ones. And cheesecake erotica covers appeared as soon as the LPs came along apparently to increase sale numbers. It probably worked too but I wouldn't know to what extend. I do know for a fact that there are record collectors out there that buy every depiction of nudity on a sleeve they can get their hands on. I'm not one of them but a cute nude picture doesn't deter my selections either. The naked women on the sleeves in the 50s and 60s were somewhat obscured as full nudity was taboo still. Three major categories can be distinguished: multiple exposures as on the Cal Tjader above, body paint (as on a famous Paul Mauriat cover), and slide projections. Next week's post will have an example of slide projections on women's bodies on an Alan Lorber jazz album. The Ritmo Caliente! vinyl is colored bright red and that's the last thing I'll mention about the appearance of the LP. 

The 1950s was also the decade that jazz music started to look at music from outside the US borders. The first focus was Cuba. Cuban jazz orchestras had already captured an audience in the big cities of the US before Dizzy Gillespie collaborated with Cuban musicians to make the first crossover Latin jazz recordings. It became a craze in the 1950s. Cal Tjader was one of the most important jazz musicians that hired Cuban musicians to play in his bands and his Mambo Quintet of the mid/late 50s is considered one of the outstanding Latin jazz combos of all time. Ritmo Caliente! consists of some of the earlier recordings by this band (and by Tjader as a bandleader). The recordings on this record were made in Los Angeles and San Francisco in 1954, and a few additional tracks in New York in 1955. The biggest difference between the LA and SF recordings is the addition of a flute in San Francisco. The New York recordings had different personnel. Lamento de Hodi, the track below was recorded in 1955 in New York and features Jerome Richardson on flute, Al McKibbon-bass, Armando Perazas-conga and bongos, Manuel Duran on piano, and the vibraphones of Cal Tjader.