Hello, as we will be staying in Brazil until the Olympics there's plenty of time to explore the it's music scene. The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.
Today. a Brazilian songwriter, composer, arranger, singer, and pianist/guitarist. He was a primary force behind the creation of the bossa nova style, and his songs have been performed by many singers and instrumentalists within Brazil and internationally. Widely known as the composer of "Garota de Ipanema" ("The Girl from Ipanema"), one of the most recorded songs of all time, Jobim has left a large number of songs that are now included in jazz and pop standard repertoires. The song "Garota de Ipanema" has been recorded over 240 times by other artists.....N'Joy
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Antônio Carlos Jobim was born in the middle-class district of Tijuca in Rio de Janeiro. His father Jorge de Oliveira Jobim (São Gabriel, Rio Grande do Sul, April 23, 1889 – July 19, 1935) was a writer, diplomat, professor and journalist. When Antônio was still an infant, his parents separated and his mother, Nilza Brasileiro de Almeida, moved with her children (Antônio Carlos and his sister Helena Isaura) to Ipanema, the beachside neighborhood the composer would later celebrate in his songs. In 1935, when the elder Jobim died, Nilza married Celso da Frota Pessoa, who would encourage his stepson's career. He was the one who gave Jobim his first piano. As a young man of limited means, Jobim earned his living by playing in nightclubs and bars and later as an arranger for a recording label, before starting to achieve success as a composer.
Jobim's musical roots were planted firmly in the work of Pixinguinha, the legendary musician and composer who began modern Brazilian music in the 1930s. Among his teachers were Lúcia Branco, and, from 1941 on, Hans-Joachim Koellreutter. Jobim was also influenced by the French composers Claude Debussy and Maurice Ravel, by the Brazilian composers Heitor Villa-Lobos, Ary Barroso, and by jazz. Among many themes, his lyrics talked about love, self-discovery, betrayal, joy and especially about the birds and natural wonders of Brazil, like the "Mata Atlântica" forest, characters of Brazilian folklore, and his home city of Rio de Janeiro
Jobim became prominent in Brazil when he teamed up with poet and diplomat Vinícius de Moraes to write the music for the play Orfeu da Conceição (1956). The most popular song from the show was "Se Todos Fossem Iguais A Você" ("If Everyone Were Like You"). Later, when the play was turned into a film, producer Sacha Gordine did not want to use any of the existing music from the play. Gordine asked de Moraes and Jobim for a new score for the film Black Orpheus (1959).This collaboration proved successful, and Vinicius went on to pen the lyrics to some of Jobim's most popular songs.
A key event in making Jobim's music known in the English speaking world was his collaboration with the American jazz saxophonist Stan Getz, João Gilberto and Gilberto's wife at the time, Astrud Gilberto, which resulted in two albums, Getz/Gilberto (1963) and Getz/Gilberto Vol. 2 (1964). The release of Getz/Gilberto created a bossa nova craze in the United States, and subsequently internationally. Jobim wrote many of the songs on Getz/Gilberto, which became one of the best-selling jazz albums of all time, and turned Astrud Gilberto, who sang on "The Girl from Ipanema" and "Corcovado", into an international sensation. At the Grammy Awards of 1965 Getz/Gilberto won the Grammy Award for Album of the Year, Grammy Award for Best Jazz Instrumental Album, Individual or Group and the Grammy Award for Best Engineered Album, Non-Classical. "The Girl from Ipanema" won the Grammy Award for Record of the Year.
Jobim was married to Thereza Otero Hermanny on October 15, 1949 and had two children with her: Paulo Jobim (born 1950), an architect and musician, married and father of Daniel Jobim (born 1973) and Dora Jobim (born 1976); and Elizabeth "Beth" Jobim (born 1957), a painter. Jobim and Thereza divorced in 1978. On April 30, 1986 he married 29-year-old photographer Ana Beatriz Lontra, with whom he had two more children: João Francisco Jobim (1979–1998) and Maria Luiza Helena Jobim (born 1987). Daniel, Paulo's son, Tom's grandson; followed his grandfather to become a pianist and composer.
In early 1994, after finishing his album Antonio Brasileiro, Jobim complained to his doctor, Roberto Hugo Costa Lima, of urinary problems. A bladder tumor was detected, but Jobim postponed the recommended immediate surgery for several months, while he tried spiritual treatment with a Brazilian medium and started working on his album Tom Jobim. His operation took place at Mount Sinai Hospital, in New York, on December 2, 1994. On December 8, while recovering from surgery, he had a cardiac arrest caused by a pulmonary embolism and two hours later another cardiac arrest, from which he died. His last album, Antonio Brasileiro, was released posthumously three days after his death.
Jobim is widely regarded as one of the most important songwriters of the 20th century. Many of Jobim's songs are jazz standards. American jazz singers Ella Fitzgerald and Frank Sinatra prominently featured Jobim's songs on their albums Jobim was an innovator in the use of sophisticated harmonic structures in popular song. Some of his melodic twists, like the melody insisting on the major seventh of the chord, became common use in jazz after him. The Brazilian collaborators and interpreters of Jobim's music include Vinícius de Moraes, João Gilberto (often credited as a co-creator of bossa nova), Chico Buarque, Gal Costa, Elis Regina, Sérgio Mendes, Astrud Gilberto, and Flora Purim. Eumir Deodato and the conductor/composer Claus Ogerman arranged many recordings of Jobim tunes. He won a Lifetime Achievement Award at the 54th Grammy Awards in 2012. As a posthumous homage, on January 5, 1999, the Municipality of Rio de Janeiro changed the name of Rio's Galeão International Airport, located on Governador Island, to bear the composer's name. Galeão Airport is explicitly mentioned in his composition "Samba do Avião". In 2014, Jobim was posthumously inducted to the Latin Songwriters Hall of Fame. In 2015, Billboard named Jobim as one of The 30 Most Influential Latin Artists of All Time.
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Black Orpheus the film by Marcel Camus, and its soundtrack, were the signposts by which the world first learned of samba and bossa nova and fell in love with it. Therefore, it is staggering to consider that it took until 2008 for a definitive edition of the soundtrack to be released, one that assembled all the songs and music heard in the film. After all, this is the score that created the partnership of composer Antonio Carlos Jobim and poet Vinicius de Moraes, and introduced the brilliant and influential guitarist Luiz Bonfá. Universal France has assembled all the sound recordings into one 17-track volume. These include the two original 45 EPs, and the 10" 33 rpm album, as well as some tracks that have never appeared before now. Given the wild success of the readily recognizable album on both LP and CD over the decades, this amounts to an entirely new hearing of Brazilian music -- bossa was emerging in Rio at the time too, a brand new genre. The sounds of the various samba schools from the carnival parades are accompanied by the gorgeous instrumental interludes by Bonfá (including the now ubiquitous "Manha De Carnaval," written with poet Antonio Mara), and the songs of de Moraes and Jobim (including "A Felicidade," as sung by Elizeth Cardoso). The songs may be well known now; the music of the favelas, as practiced by the escolas de samba with their agogo bells, atabaques drumming, stomping batacuda solos, and duels, folk line chants, and unusual (even now if one thinks about it) blend of African rhythms, dissonance, and extended harmonics, is still revolutionary today. A 13-minute encore medley by Brazilian guitarist Bola Sete that recorded in 1966 at the Monterey Jazz Festival, has been added as a bonus cut, wedding "Manha de Carnaval," to "A Felicidade," and "Samba de Orfeo." The presentation is handsome. There is an exhaustive historical essay by French scholar Anaïs Fléchet, complete discographical information, and photos. The sound quality is only fair, but considering the neglect of the original masters, it's actually remarkable.
Antonio Carlos Jobim - Black Orpheus (flac 275mb)
01 Generique 1:10
02 A Felicidade 2:33
03 Frevo 4:32
04 O Nosso Amor 1:03
05 O Nosso Amor (Tambourine And Accordion) 4:00
06 Manha De Carnaval (Morning Of The Carnival) 3:01
07 Scene Du Lever Du Soleil 0:46
08 Manha De Carnaval (Morning Of The Carnival) 1:30
09 Scenes De La Macumba 3:09
10 O Nosso Amor 5:00
11 Manha De Carnaval (Morning Of The Carnival) 2:55
12 Samba De Orfeu 2:13
13 Batterie De Cappela 4:50
14 Bola Sete Medley 13:35
Manha De Carnaval
A Felicidade
Samba De Orfeo
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The Composer of Desafinado, Plays is the debut album by Antônio Carlos Jobim, released in 1963. In his first American album, Antonio Carlos Jobim presents a dozen of his songs, each one destined to become a standard -- an astounding batting average. Jobim, who claimed to have been out of practice at the time of the session, merely plays single notes on the piano with one hand, punctuated by chords now and then, sticking to his long, undulating melodies with a few passages of jazz improvisation now and then. Yet it is a lovely idea, not a gesture is wasted. Arranger Claus Ogerman unveils many of the trademarks that would define his Creed Taylor-produced albums with Jobim -- the soaring, dying solo flute and spare, brooding unison string lines widening into lush harmony; flutes doubling on top of Jobim's piano chords -- again with an exquisitely spare touch. The songs include "Desafinado," "Corcovado," "Chega de Saudade" (No More Blues), "The Girl From Ipanema," "Meditation," "One Note Samba," and half-a-dozen others (every one of which is included on The Man From Ipanema set). The album was inducted into the Latin Grammy Hall of Fame in 2001.
Antonio Carlos Jobim - The Composer of Desafinado Plays (flac 218mb)
01 The Girl From Ipanema 2:41
02 Amor Em Paz (Once I Loved)
3:35
03 Agua De Beber 2:50
04 Vivo Sonhando (Dreamer) 2:35
05 O Morro Nao Tem Vez (aka "Favela") 3:21
06 Insensatez (How Insensitive) 2:52
07 Corcovado 2:26
08 Samba De Uma Nota So (One Note Samba) 2:14
09 Meditation 3:14
10 So Danco Samba (Jazz Samba) 2:21
11 Chega De Saudade 4:17
12 Desafinado 2:44
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Unlike his debut, Jobim's second LP for the American market was strictly a pop album, with the composer himself singing, while the arranging/conducting chores were placed in the capable hands of Nelson Riddle. What promises to be an excellent collaboration, however, doesn't quite turn out, and the results are much more bland than could be expected from such distinct talents. To begin with, Riddle's charts are surprisingly safe, quite a disappointment from the man whose work with Frank Sinatra raised the bar for the art of arranging. Jobim's contributions are less than expected also, limited for the most part to his quavering vocals (Warner Bros. seems to have been positioning him as a pop star) and a set of compositions inferior to his first album (only "Agua de Beber" is repeated here). Jobim's is the voice of a composer, though, and what he lacks in tonal quality and strength he does make up for with delivery and subtlety of interpretation, especially on contemplative material like "Dindi" and "A Felicidade." It's not all Brazilian ennui; the instrumental "Surfboard" has a playful edge, with a rush of strings bringing on the collapse of each wave, and "She's a Carioca" (with English lyrics by Ray Gilbert) is a cheerful sequel to "The Girl From Ipanema."
Antonio Carlos Jobim - The Wonderful World Of (flac 152mb)
01 She's A Carioca 2:40
02 Agua De Beber 2:30
03 Surfboard 2:27
04 Useless Landscape 2:20
05 So' Tinha De Ser Com Voce 2:32
06 A Felicidade 2:07
07 Bonita 2:10
08 Favela 2:37
09 Valsa De Porto Das Caixas 3:23
10 Samba De Aviao 2:12
11 Por Toda A Mima Vida 1:54
12 Dindi 3:37
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When Creed Taylor left Verve/MGM for his own label under the auspices of A&M, he quickly signed Antonio Carlos Jobim and they picked up right where they left off with this stunningly seductive record, possibly Jobim's best. Jobim contributes his sparely rhythmic acoustic guitar, simple melodic piano style, a guest turn at the harpsichord, and even a vocal on "Lamento," while Claus Ogerman lends a romantically brooding hand with the charts. A pair of instant standards are introduced ("Wave," "Triste"), but this album is to be cherished for its absolutely first-rate tunes -- actually miniature tone poems -- that escaped overexposure and thus sound fresh today. The most beautiful sleeper is "Batidinha," where the intuitive Jobim/Ogerman collaboration reaches its peak. One only wishes that this album were longer; 31:45 is not enough.
Antonio Carlos Jobim - Wave (flac 189mb)
01 Wave 2:51
02 The Red Blouse 5:03
03 Look To The Sky 2:17
04 Batidinha 3:13
05 Triste 2:04
06 Mojave 2:21
07 Dialogo 2:50
08 Lamento 2:42
09 Antigua 3:07
10 Captain Bacardi 4:29
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