Item description for Vince Guaraldi Trio Jazz Impressions Of Black Orpheus Vinyl LP Record Album 8089

This listing is for Vince Guaraldi Trio – Jazz Impressions Of Black Orpheus Vinyl LP Record Album 8089.

Label: Fantasy – 8089

Format: Vinyl, LP, Album, Reissue, Stereo

Style: Cool Jazz, Latin Jazz

Condition: Jacket: Good (tape on seams) Vinyl: Very Good

A1 Samba De Orpheus 5:37

A2 Manha De Carnaval 5:45

A3 O Nosso Amor 4:52

B1 Cast Your Fate To The Wind 3:05

B4 Since I Fell For You 4:20

Jazz Impressions of Black Orpheus is the third album by American jazz pianist Vince Guaraldi (credited to the Vince Guaraldi Trio), released in 1962 on Fantasy Records. It is considered Guaraldi's breakthrough album. The album contains both original compositions and covers of songs from the 1959 French/Brazilian film Black Orpheus which won an Academy Award for Best Foreign Film. It spawned the hit single "Cast Your Fate to the Wind", which won the 1963 Grammy Award for Best Original Jazz Composition, and introduced a distinctive fusion of jazz and Brazilian music to a broader American audience.

The impetus for Jazz Impressions of Black Orpheus stemmed from Guaraldi’s appreciation for the 1959 Brazilian film Orfeu Negro (Black Orpheus), which had garnered international acclaim, winning the Palme d’Or at the Cannes Film Festival and the Academy Award for Best Foreign Language Film. The film’s soundtrack, composed by Antônio Carlos Jobim and Luiz Bonfá, introduced a global audience to the nascent bossa nova movement. Captivated by the evocative melodies and the film’s rhythmic complexity, Guaraldi sought to adapt this music for his trio. Throughout the latter half of 1961, Guaraldi shopped a four-tune demo of Black Orpheus material to several major labels, finding no immediate takers. Ultimately, he returned to Fantasy Records, which had released his earlier albums. This decision led to two significant recording sessions at the San Francisco public television station KQED. The initial recording session in November 1961 featured Guaraldi’s then-working trio, consisting of bassist Monty Budwig and British-born drummer Colin Bailey. However, instead of focusing on the Black Orpheus material, these early recordings were devoted primarily to jazz standards and popular compositions. Among the pieces recorded were Buddy Johnson’s blues ballad “Since I Fell for You” and Henry Mancini’s “Moon River,” the latter having been introduced to the public a month prior in Breakfast at Tiffany’s. These interpretations showcased Guaraldi’s ability to blend lyrical expressiveness with a refined sense of swing. Also likely recorded during these sessions were three different takes of Fats Waller’s “Jitterbug Waltz.” The trio’s approach to this piece highlights the evolution of an interpretation through successive takes. The first take exudes a relaxed, effortless charm; the second is tighter and more focused; and the third, though featuring a compelling Guaraldi solo, exhibits a degree of over-refinement indicative of diminishing returns. These outtakes, unreleased at the time, offered glimpse into Guaraldi’s iterative approach to recording.

By early 1962, Guaraldi had refined his interpretations of the Black Orpheus material and two original compositions. The trio returned to KQED in February for what would become a pivotal recording session. According to Bailey, the session was characterized by an effortless cohesion: “We recorded the whole album in four hours because we were so familiar with the music. It was just like we were in a club.” The trio’s fluency in the material resulted in remarkably fluid takes, particularly in their renditions of “Samba de Orfeu,” “Manhã de Carnaval,” and “Felicidade.” Bailey and Budwig, both consummate musicians, adapted seamlessly to the bossa nova pulse, offering rhythmic support that was markedly more dynamic than the often rigid accompaniment heard on contemporaneous American bossa nova recordings, such as Stan Getz and Charlie Byrd’s Jazz Samba. Guaraldi’s arrangements were not overly complex, yet they were meticulously crafted to highlight his own pianistic sensibilities. While his sidemen were given little solo space, Budwig and Bailey were afforded a brief rhythmic workout in “Samba de Orfeu.” Across multiple takes, subtle variations in phrasing and rhythmic emphasis can be discerned. The previously unreleased long take of “Samba de Orfeu” features a particularly adventurous Guaraldi solo. The trio’s comfort with the material was evident in their treatment of “Manhã de Carnaval.” The unreleased alternate take unfolds at a luxuriant, deliberate tempo, accentuating the tune’s melancholic beauty. “O Nosso Amor,” found Guaraldi at his most effervescent. Across three separate takes, his solo work brims with the bright touch and buoyant lyricism that defined his artistry.

CONDITION Descriptions:

I base the condition of each of my Records off of's Grading System.

• MINT (M) Looks new and unplayed. Very high vinyl luster and no noticeable label defects. Sounds new. With 45rpm records, this does not always mean there is no surface noise at all.

• NEAR MINT (NM) Looks almost new, but has some minor flaws such as a drill hole; unobtrusive writing on label (e.g., an X on a promo copy); minor scuffing on vinyl; minor color flaking on label, or other insignificant flaws that only slightly detract from visual appeal. May have some minor surface noise, but nothing distracting.

• VERY GOOD (VG) There may be light scuffing and some of the original vinyl luster may be lost. The vinyl and label may appear used, but well cared for. Records may have some more obvious flaws that are not visually degrading such as a sticker on the label; more noticeable writing on the label; scuffing and minor scratches on the vinyl; or minor discoloration of the label. There may be very minor warping of the vinyl. There may be a slight scratch not affecting play.

• GOOD (G) Record has visible signs of handling and playing, such as loss of vinyl luster, minor surface scratches, groove wear, and audible surface noise. Appears well used but not abused. May have a few major flaws, such as scratches, label tears, or stickers, and/or writing.

• FAIR (F) Appears well used and somewhat abused. Audio is not great due to surface noise and scratches. The record may have a stick or a skip. Records in this condition are those you might purchase to fill a hole in your collection until a better copy comes along.

• POOR (P) Well played with little luster and significant surface noise, but still not cracked or broken. Record likely skips and/or sticks. Typically so bad looking that a true “collector” would just toss it out. More useful as a Frisbee. I try not to sell records in this condition.

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