Both from that soundtrack.
I grew up in Baltimore and from about 1960 on was a regular at a little bar in Georgetown called the Showboat. Charley Byrd was always there and over the years I struck up an aquaintance with him. When we'd come in he'd come over to the table between sets for a coffee, cream two sugars. We were just barely old enough to order a beer in DC at the time and I guess he enjoyed finding kids that appreciated some of the areas he was exploring.
In 1962 IIRC, he and Stan Getz released Jazz Samba. It simply reenforced the impact of the movie. That was my first introduction, although I did not know it at the time, to the triumverate of Bonfa, Jobim and Gilberto. For the first time I learned the origin of those haunting melodies that had so deeply moved me.
Some nights, something we said would really get to him and he would go get his guitar. He'd sit at the table and run through a half dozen or so short themes, starting with one very simple thread and then expanding as he would pick simultaneously with both hands, wander off and adding to the initial theme and then returning, as if by magic at the end.
What was so amazing to me was, even though he was on a break, and waiters were rushing around filling drink orders at the time, everyone in the place shut up while he was playing and it was as though we were in the center of a cone of silence (appologizies to Maxwell). When he finished, the silence would continue for what seemed like forever, and then the sounds, conversations and bustle would pick up again.
Aslan is not a Tame Lion
™ Version 4.2