For a few years, Mr. Deppenschmidt was thought of a musical footnote, a sideman who performed on one of the crucial well-liked jazz recordings of all time however then disappeared from the limelight. He was the final surviving musician who carried out on “Jazz Samba,” which featured guitarist Charlie Byrd and saxophone nice Stan Getz. It was the primary bossa nova recording by American musicians to turn into a significant hit and stays the one jazz instrumental album to achieve No. 1 on the Billboard pop chart.
Getz received a Grammy Award and have become a jazz celebrity, and Byrd was acclaimed all through the world. Each got credit score for popularizing the bossa nova, particularly after Getz’s 1963 hit music “The Girl From Ipanema.”
Byrd informed DownBeat journal in 1963 that “Buddy Deppenschmidt deserves an terrible lot of credit score for his half within the album,” however the full extent of his contribution to “Jazz Samba” was largely ignored for years.
Music historian David R. Adler first highlighted Mr. Deppenschmidt’s position in a 2004 article in Jazz Times. Members of Byrd’s household disagreed with the evaluation, however others, together with Keter Betts, who was Byrd’s bass participant on the time, corroborated Mr. Deppenschmidt’s recollection of the occasions.
In 1961, Mr. Deppenschmidt was a 25-year-old drummer working in Washington with Byrd, who was recognized for interspersing classical guitar items with jazz. That 12 months, Byrd’s trio embarked on a three-month tour of 18 Central and South American countries as part of a cultural exchange program sponsored by the State Department.
“Everyone agrees about one thing,” Adler wrote in Jazz Times. “The seed for ‘Jazz Samba’ was planted during the Charlie Byrd Trio’s 1961 State Department tour.”
Mr. Deppenschmidt’s favorite stop on the tour was Brazil, where the new bossa nova music was taking shape. Bossa nova, which means roughly “new trend,” was based on Brazil’s traditional samba music, but with a slower, more gentle rhythm and delicate, sinuous melodies. Some of its earliest proponents included singer-guitarist João Gilberto and composers Antonio Carlos Jobim and Luiz Bonfa.
Several bossa nova recordings had been released in the United States, but it had yet to catch on as a major trend. During his time in Brazil, Mr. Deppenschmidt was transfixed by the music. After their concerts, he and Betts often went out to listen to Brazilian musicians in clubs, bars and people’s homes.
“There were nights we stayed up all night,” Mr. Deppenschmidt said in a 2013 interview with music author Chris McGowan for the Brazilian Sound weblog. “I’m glad I didn’t simply go to embassy cocktail events. I reserved most of my off time to hang around with native individuals and more often than not they had been musicians.”
At a choose’s home in Bahia, the trio listened to bossa nova information, then performed music collectively afterward.
“They handed the guitar and everybody performed guitar,” Mr. Deppenschmidt stated. “And his spouse performed the guitar; his son performed piano and drums. That was the primary time we ever heard Gilberto and Jobim. Keter and I went out the very subsequent day and purchased [Gilberto’s] information. And we began rehearsing in our lodge rooms. Simply he and I.”
In one other metropolis, a musician spent hours educating Mr. Deppenschmidt the refined, syncopated two-beat rhythm of the bossa nova, through which the drummer usually makes use of a brush in a single hand, a stick within the different.
As he and Betts started to follow the music collectively, Mr. Deppenschmidt later recalled, “I stated, ‘We’ve acquired to do an album of these items.’ ”
Byrd was skeptical at first, pondering his followers at Washington’s Showboat Lounge wouldn’t go for the brand new music. Mr. Deppenschmidt and Betts lastly prevailed on Byrd’s spouse, Ginny, to provide Brazilian music a strive. Late in 1961, the trio started to work some bossa nova tunes into their repertoire, and the audiences instantly responded.
When Byrd’s report label confirmed little interest in a bossa nova, he went to Verve, Getz’s label. (Mr. Deppenschmidt stated he first recommended to Byrd that Getz’s strategy could be a superb match for the music.)
Byrd selected Pierce Corridor at All Souls Unitarian Church in Washington for a recording session scheduled to start at midday on Feb. 13, 1962. Getz and his producer, Creed Taylor, flew down from New York that morning.
“I used to be so up, it might have been a cloudy day and I’d have thought it was sunny,” Mr. Deppenschmidt informed The Washington Publish in 2012. “I used to be simply so glad we had been lastly doing this factor.”
In addition to Getz, Byrd, Betts and Mr. Deppenschmidt, the musicians included Byrd’s brother Joe (then generally known as Gene Byrd) on rhythm guitar and generally bass, and Invoice Reichenbach on percussion devices. They recorded seven tunes in two hours. Getz and Taylor had been again in New York in supper time.
Getz received a Grammy for finest jazz solo on “Desafinado,” the album’s opening monitor, by Jobim. All through the tune, Mr. Deppenschmidt may be heard maintaining time on a muffled cowbell.
“Jazz Samba” bought 500,000 copies in 18 months and have become a uncommon crossover hit for a jazz recording. Bossa nova quickly turned a nationwide sensation, with numerous performers capitalizing on the pattern. Singer Eydie Gormé had a High 10 hit in 1963 with “Blame It on the Bossa Nova.”
“We had no thought this album would change into so traditionally important,” Mr. Deppenschmidt informed The Publish.
Getz requested Mr. Deppenschmidt to hitch his group, however he turned down the possibility and stayed in Washington. Getz later referred to as “Desafinado” the music that put his 5 youngsters by way of school. In 1964, Byrd sued Verve for a larger share of the royalties and obtained a considerable settlement.
For his efforts on “Jazz Samba,” Mr. Deppenschmidt was paid $150.
“God is aware of it was profitable for Verve information and for Stan Getz and for Charlie Byrd,” he informed McGowan. “But it surely wasn’t very profitable for me.”
William Henry Deppenschmidt III was born Feb. 16, 1936, in Philadelphia. His father was a musician and bandleader underneath the title Buddy Williams. His dad and mom divorced when he was 4, and Mr. Deppenschmidt moved to Richmond along with his mom, who labored in a health care provider’s workplace.
He turned an expert drummer at 17, working in Richmond and later with trumpeter Billy Butterfield earlier than transferring to Northern Virginia. He joined Byrd’s trio in 1960, appeared on a number of of the guitarists’s recordings and accompanied many main figures, together with Coleman Hawkins and Lionel Hampton.
By the mid-Sixties, Mr. Deppenschmidt had moved to Bucks County, Pa., the place he led bands and labored in small ensembles. He owned a music retailer in Flemington, N.J., taught at a music college in Newtown, Pa., and gave personal drum classes for greater than 50 years,
His marriages to Charlotte Gravatt and Jean Apple resulted in divorce. Survivors embody his longtime companion, Marjorie Danciger; two daughters from his first marriage, Laura Thomasson and Allyson Cowl; 4 half brothers; a half sister; three grandchildren; and 4 great-grandchildren.
In 2001, Mr. Deppenschmidt sued Verve Information, in search of royalties and an acknowledgment of his position in serving to result in “Jazz Samba.” He obtained a settlement three years later, however he was legally prohibited from disclosing the phrases.
“On the time [in 1962] I used to be simply so excited that the album got here out and I used to be proud of my job,” Mr. Deppenschmidt informed McGowan in 2013. “I used to be attending to play the sort of music I wished to play each night time. It didn’t enter my thoughts that I wasn’t getting any credit score.”