Singer Ithamara Koorax and Tom Jobim - October 1994.
Carlos Jobim - Blue Moon
Luiz Bonfa, "Sambolero - Guitarra do
Brasil", Blue Moon #BMCD 3059 (1996).[CD]
Includes Amor Sem Adeus (Jobim/Bonfa).
Bud Shank, Clare Fischer, João Donato, Joe Pass & Sergio
Mendes, "Bud Shank, Bossa Nova Years", Blue Moon - Ubatuqui
[Spain] #UBCD 307 (2000).[2-CD Set]
This set contains several Jobim compositions (see below).
[U.S. 2-in-1 CD Reissue]
Pat Thomas, "Desafinado /
Moody's Mood", Blue Moon #BMCD 884 (2017).[2-in-1 CD
This reissue contains complete releases of both original
LPs, along with bonus tracks.
Jobim-composed tracks are listed in the tracklist below.
01. Desafinado [Slightly Out of Tune]
02. Baia (Gilbert-Barroso) 2:58
03. Carnival (Bonfa-Peretti-Creatore-Weiss)
04. One Note Samba
05. C’est si bon (Seelen-Honez-Betti) 1:50
06. Recado bossa nova (Ferreira) 2:20
07. Could Be (McFarland-Guryan) 2:15
08. I Wish You Love (Beach-Trenet) 2:23
09. Samba de Orfeu (Bonfa) 2:13
10. Once Again (Jobim) 3:13
11. Soft Nights (E luxo so)
12. To Welcome the Day (Coleman-Guryan)
13. Moody’s Mood (James Moody) 2:50
14. Try A Little Tenderness
15. Stranger on the Shore (Bilk-Mellin)
16. Trouble Is A Man (Alec Wilder) 2:29
17. Dreamy (Garner-Shaw) 2:27
18. It Shouldn’t Happen To A Dream
19. Baltimore Oriole (Webster-Carmichael)
20. Don’t Wait Too Long (Skylar) 2:22
21. The Cliff-Dwellers (Manson-Stillman)
22. A Cottage For Sale (Conley-Robison)
23. Detour Ahead (Frigo-Carter-Ellis) 3:17
24. The Nearness of You
25. Home in the Meadow (Dolan-Cahn) 2:26 *
26. Where There’s Love There’s Hope
(Raleigh-Barken) 2:27 *
27. Just Say Auf Wiederseh’n
(Ogerman-Goode) 2:12 *
(*) Bonus Tracks
Tracks #1-12, from the album “Desafinado”
(MGM SE 4103)
Tracks #13-24, from the album “Moody’s
Mood” (MGM SE 4206)
Tracks #25 & 26, from the MGM Single
Track #27, taken from the MGM Single K12171
Musician Credits: Pat Thomas, vocals, accompanied by
DESAFINADO Orchestra arranged and conducted by Lalo
Tracks #1,3,4 & 10: Paul Horn, flute; Laurindo Almeida,
guitar; Buddy Clark, bass; Mel Lewis, drums; Frank Guerrero
& Jack Del Rio, percussion; 6 violins; 2 violas; and 2
Recorded in Los Angeles, October 1, 1962.
Tracks #2,5-9,11 & 12: Bud Shank, flute; Laurindo
Almeida & Al Hendrickson, guitars; Buddy Clark, bass;
Mel Lewis, drums; Frank Flynn, mallets; Frank Guerrero &
Jack Del Rio, percussion; 6 violins; 2 violas; and 2 cellos.
Recorded in Los Angeles, October 2, 1962.
MOODY’S MOOD Orchestra Arranged and Conducted by Lalo
Schifrin (#13), Billy Ver Planck (#14), Sammy Lowe (#15-18),
and Claus Ogerman (#19-24).
Featuring: Johnny Hodges, alto sax (#14,15,17,18); Hank
Recorded in New York City, August 14 (#14), 16 (#15), 17
(#16-18), 1962; July 2, 1963 (#13); December 1963 (#19-24).
BONUS TRACKS from singles.
Arranged and Conducted by Claus Ogerman.
Original recordings produced by Creed Taylor.
Produced for CD release by Jordi Pujol.
From the Fresh Sound Records website:
Surprisingly, singer Pat Thomas is virtually forgotten
even as part of the scene of which she was, all too
briefly, a major talent. In Chicago, where she was born
and raised, she was the most sought-after female singer by
local and visiting musicians, who valued her way of
handling lyrics. Pat could be classified as a pop-jazz
vocalist. She had directness and clarity mixed with a
subtle reading of a song, a warm vocal sound, impeccable
intonation, and an unaffectedly sincere feel for the
She was just 24 when she recorded the first
English-language version of the bossa nova hit,
Desafinado, for Verve in 1962; released as a debut single
with One Note Samba it won her a Grammy nomination.
Transferred to MGM for release, it was part of Desafinado,
the album she made that year with some notable musicians,
including Bud Shank, Laurindo Almeida, Mel Lewis and
arranger Lalo Schifrin, plus orchestra. It sold well and
led to a second album, Moody’s Mood, the following year,
with orchestras arranged by Claus Ogerman and several
others. Featuring Johnny Hodges and Hank Jones in some
tracks it showed her range was much greater than her ready
mastery of the Brazilian idiom and confirmed the further
qualities of an artist hailed as “a good singer on her way
to becoming a great one”. Somehow, that never
materialised; she died, unheralded, in March 1992.