The Muse of Bossa Nova"

Home , A felicidade, Bebel Gilberto, Bola Sete, Brasileiro, Carmen Costa, Chega de Saudade

Aug-Sep. 2018 - Edition#12

Interviews 10 MOST INFLUENTIAL ANA FLAVIA ZUIM From Church to Broadway

PORTINHO PAULO BRAGA ROGER DAVIDSON

News | Events | Performances | Culture | Education

SPECIAL EDITION — BOSSA NOVA 60 YEARS—AUG/SEPT 2018

3 EDITOR’S NOTE 4 EDITORIAL TEAM 10 ANA FLAVIA ZUIM - FROM CHURCH TO BROADWAY 13 DAN COSTA—CD RELEASE 14 PORTINHO—DRUMMER 16 ROGER DAVIDSON— CITIZEN OF BRAZILIAN MUSIC 18 PAULO BRAGA—DRUMMER 20 TATI VITSIC—GRAPHIC DESIGNER 22 BOSSA NOVA - 60 YEARS ANA FLAVIA ZUIM 25 AVANT-GARDE POPULAR MUSIC 10 26-27 RADIO ERA/GOLDEN YEARS 28 ORFEU DA CONCEIÇÃO/BLACK ORPHEUS—THE PLAY 30 BRASÍLIA AND BOSSA NOVA 32 THE BOSSA GROUP—THE BEGINNING 34 THE MEETINGS AT NARA LEAO’ APT. 36 FIRST RECORDING OF “CHEGA DE SAUDADE” 37-39 JOÃO GILBERTO FIRST RECORDINGS 40 THE SAMBA SESSION 41 THE BOTTLES BAR 42 AN ENCOUNTER—THE HISTORY MADE SHOW 44 TOM/VINICIUS AND THE GIRL FROM IPANEMA 46 RONALDO BOSCOLI– 1ST BOSSA NOVA PRODUCER IN BR. PORTINHO 47 FELIX GRANT-THE BOSSA NOVA PROJECT DC. 14 49 STAN GETZ/CHARLIE BIRDY -THE BOSSA CRAZE IN DC. 50 CREED TAYLOR– 1ST BOSSA NOVA PRODUCER IN THE US. 52 BOSSA NOVA GOES INTERNATIONALLY—CARNEGIE HALL 54 THE SUDDEN HALT OF BOSSA NOVA IN BRAZIL 56 THE SONG AGAINST REPRESSION - BEGINNING OF MPB 58 BOSSA CRAZY IN US & IN THE WORLD 60 FRANK SINATRA AND TOM JOBIM 61 THE CONTINUATION OF THE BOSSA NOVA JOURNEY 62 – 85 10 MOST INFLUENTIAL BOSSANOVISTS 86 - 87 BOSSA NOVA EDUCATIONAL - TIPS 88 BOSSA NOVA BOOKS 89 BOSSA NOVA 2ND GENERATION 90 LINKS AND CREDITS BOSSA NOVA-60 YEARS 22 Published by Asuos Productions Supported by Brazilian Music Foundation Editor In Chief Madalena Sousa [email protected]

Editor’s Note

It is with great pleasure that we are launching the 12th We are thrilled to include the profiles of the 10 most edition of Bossa Magazine with a great theme, a subject influential Bossanovists that were responsible for presen- that is for us Brazilians a topic of great pride and admira- ting Bossa Nova to the world. Also, in this edition, there is tion, "60 years of Bossa Nova." Bossa Nova was a vehicle for an interview with Ana Flavia Zuim and her trajectory since the propagation of Brazilian music and culture around the her first performances in churches in her city to the great world, it led the music to a plateau never before achieved. musical "Hamilton" on Broadway.

The summer of 1958 was the year of Bossa Nova. Sixty This month, we continue presenting the “Brazilian Percus- years ago, a movement of melody, harmony, lyrics, and sion Series”, with stories and insights from Portinho and rhythm sent a fresh wave of sound throughout Brazil. Paulo Braga, ( drummers and percussionists) who proudly September 22, 1958 was the first Samba Session where a showcase Brazilian Jazz in New York City and globally. Bossa Nova Group was introduced. Since then Bossa Nova has won the world stage, conquered by a small group of In our series of interviews about “The Citizens of Brazilian idealistic musicians — including Antonio Carlos Jobim, Music” , a way to warmly refer to musicians promoting Vinicius de Moraes, Johnny Alf, João Donato, João Gilberto, Brazilian Music in United States, we will include an inter- Nara Leão, Silvinha Telles, Roberto Menescal, Carlos Lyra, view with pianist, Roger Davidson. Baden Powell, Luiz Bonfá, Sérgio Mendes, and a handful of others — who would write some of the most enduring mel- Bossa Magazine welcomes the generosity of new contribu- odies in music history. They have their names etched in tors who offered their stories for this edition. We also recog- gold in Brazilian musical history. nize and appreciate everyone (our unsung heroes) helping behind the scenes: Bossa Nova is now heard in various parts of the world and is one of the major representatives of Brazil on the world "Thank you, Gracias, Merci and Obrigado”! stage. When a foreigner is asked about what he knows of Brazilian culture, doesn’t he often hum "Girl from Ipanema" We appreciate your continued support of Bossa Magazine's as an answer. Aware of the relevance of this event to our mission which is to promote, educate, and advance Brazilian culture, we feel that it is essential to highlight this expan- Art and Music worldwide. sion to other countries, especially to the United States. If you would like to contribute content for future publica- We are presenting a synthesis of what was the Bossa Nova tions, kindly email to: [email protected]. movement, a brief summary of the most important moments in the history of Bossa Nova. It is very likely that Thank you all for your support! some important moments have not been mentioned in this issue and we apologize for missing them. But we will continue adding information to this edition until we have the complete history, we know it will take us months to Madalena Sousa include every moment of its history.

Today, many of Bossa Nova’s originators, including Tom Brazilian Music Foundation Jobim, Vinícius de Moraes, Johnny Alf, Silvinha Telles, Luiz Founder/President/CEO Bossa Magazine Bonfá, and Baden Powell, are long gone (The 86-year-old Gilberto isn’t, but he rarely performs.). And yet, six decades Founder/Editor In Chief later, the music they created still has a hold on the world.

Editorial team BOSSA MAGAZINE Madalena Sousa: PROMOTES Editor In Chief/Designer Contributors

Mila Schiavo

Proofreading Exhibitions , Concerts, Interviews, James Lemos Reviews, History, Education, Cristine Larson

Lectures, Workshops, and more… Become one of our collaborators!

Contact: [email protected] www.bossamagazine.com Brazilian Art and Music ONLINE MAGAZINE Supported by: Brazilian Music Foundation

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FROM CHURCH TO BROADWAY A MAJOR CAREER JUMP FOR ANA FLAVIA ZUIM

age twelve Ana Flavia Zuim started playing keyboard and At singing at a church in her hometown, Mandaguari, Parana, Brazil. Should she’ve had her way she would’ve started earlier. It all began with a piano kept at home by the parents, which she began exploring since an early age before she was allowed to begin taking piano lessons at age 8. When the time came for her to apply for college the pressure from friends made consider other careers but no other area attracted her.

While discouraged by many, who said that she was choosing a career that would be faced by many challenges and low financial compensation, Ana chose to follow her calling and pursue music. The challengers were indeed many and the road was filled with doubt during challenging times, but the motivation to do her best keep her hoping for better opportunities and she entered through every open door that appeared in front of her.

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Photo credit: nyu.edu/about/news-publications

ANA FLAVIA UP CLOSE & PERSONAL INTERVIEW By Madalena Sousa Editor In Chief ZUIM She graduated in Music from the State University of Londrina (UEL) and moved to the United States immediately after (2003). A trip that was meant to be a quick visit to her dad living in Florida at the time turned into an earned scholarship to pursue a Master's degree. Now, 15 years later, she holds a master's in piano performance (Lynn University, 2006), a PhD in Fine and Performing Arts (Florida Atlantic University, 2012) - and a Vocology certifica- tion (University of Utah, 2015) and works as musical director, conductor pianist, vocologist and electric bass player. The award-winning musical director now serves as Director of Vocal Performance at the Steinhardt School, B e l i e v e i t !

es, she made the right choice! always enjoyed playing chorinhos you are early you are on time, and if Y Since then her life has changed and listening to Brazilian Jazz, Tom you are on time you are late.” This from water to wine!” She said! Jobim being among my favorites. experience literally changed the There is something about the har- course of my life, because it was To better understand this water-to- monic progressions used by Djavan from there that that same conductor, wine process, Ana Flavia agreed to that fascinated me and I used to Dr. Carl Ashley, invited me to play be interviewed by Bossa Magazine spend hours transcribing his songs piano in the pit for his high school and talked about career and work in and figuring out the inversions of the production of The King and I. the United States. chords he was using. I still have a Dr. Ashley and I worked on several xerox copy of a book I put together productions together and it was a - Interview by Madalena Sousa from his lyrics and chords found huge school for me. online. You studied classical piano, sang in How was the experience working church choir and also learned How did you get the idea of coming with the musical The Billy Elliot? The electric bass, where you performed to the United States? I came to US in show, Billy Elliot, won several awards in a band. Has this musical diversity 2003 to visit my father who was living and after the show’s success on caused you any doubts in which way in Florida at the time. I had just Broadway a tour was launched. to take your musical career? graduated college and had planned I joined the second National Tour in Absolutely! I was always passionate to stay in the US only for two 2012, and began as rehearsal pianist about music, but the classical tradi- months. Upon arriving in Florida and later became the Assistant tion was the only types of degrees I found out about Lynn University Conductor of the tour. I traveled with made available for young musicians and longed to study with Dr. Roberta the show for a little over a year in the like myself. When playing at church Rust, but the selection process was USA, Canada and also São Paulo, and in popular bands I found myself very competitive. Even so I decided Brazil. After this tour, I’ve had the learning an entire different language, to take a chance and with the grace privilege of serving as Musical Director playing by chord symbols, and of God I passed and earned a schol- on the Ogunquit Playhouse produc- dealing with transposition in a way arship to earn a master's degree in tion of the show, for which I’ve that I wasn’t accustomed to in classi- piano performance. I’ve graduated earned an IRNE award for best cal training. However, while I learned from Lynn University in 2006, and musical director in 2015. I later music both at the same time it felt like a then went on to pursue a PhD in Fine directed the show at the Maltz natural process to integrate one with and Performing Arts from FAU Jupiter Theatre and was nominated the other. I just didn’t know what to [Florida Atlantic University. After for a Carbonell Award in 2016. do with it because I wasn’t intro- many challenges along the way, Throughout this journey I’ve learned duced to musical theatre until the I finally concluded the PhD in 2012, a lot, not only about the score in age of 23. When I discovered how only a few months prior to embarking itself, but also about my abilities to musical theatre intertwined tradi- on the tour of Billy Elliot. It couldn’t lead singers and musicians. Some of tions of both classical as well as have been more perfect timing. these lessons I will carry for life and popular music I was marveled and they made me a better person in excited to learn more. I didn’t have Did you write or co-write any book in addition to enriching my musical knowledge of repertoire or musical vocal performance? No, not yet, but horizons. theatre history and tradition, so I have a few ideas for the future. had a lot of catching up to do before The US, especially New York, are a going on my first tour with Billy How did you get involved in musical world reference in terms of artistic Elliot. I’ve played and conducted theater? It all happened by accident activity, was it difficult to conquer over 50 musicals prior to that. What when I was pursuing my Master’s and your professional career there? at first seemed to me as a very my mentor said that the choir was in It was not easy for the competition is diverse background ended up need of an accompanist; however, enormous. As everything in my ca- serving me well as a musical director the rehearsals began that very reer up to my moving to New York, it later. evening, and I was unaware that she was the recommendation of people had also reached out to another who knew my work that got me to Tell us a little about the beginning of pianist. I jumped at the opportunity the positions I later enjoyed and your music career. In college I played and arrived early and ready to work. learned from. Similarly to how I was with various bands, played church The other pianist arrive exactly on recommended by Jon Rose for the and at weddings. I worked with the time and by that point we had Billy Elliot tour happened with duo João Marcio & Fabiano and in a already began looking at material Hamilton, when Alex Lacamoire female band called Hi-Fi. and began rehearsal promptly on (with whom I had worked in Florida time, so I ended up getting the gig. as rehearsal pianist for a concert Which artist inspired you the most This was a huge lesson for me and entitled “Viva Broadway”) gave me growing up? I didn’t have one one I share with my students always the opportunity to join the music particular artist growing up, but I by quoting the popular saying: “if team. continue....

11 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 UP CLOSE & PERSONAL INTERVIEW WITH ANA FLAVIA ZUIM Being in New York and working with so How does Brazilian Music takes place in many talented professionals keeps you on your work? Do you apply any Brazilian your A game and it motivates you to rhythm in your vocal classes? The richness improve and grow constantly and contin- of rhythm and harmonic structure of ually. Brazilian music greatly influences the way I play groove, so I can say that it is hard to In thinking about your artistic journey, dissociate all I’ve learned with Brazilian how has your experience as a musical music; it is part of who I am and continues performer influenced your teaching style informing everything I do. When teaching with your students? Having those experi- syncopation and 16th note subdivision to ences allowed me to look at the big students, Brazilian rhythms are a great picture and help students identify the tool. I’ve had instances of students not gaps in their training instead of being only wanting learn how to sing in Portu- caught up on tradition for tradition sake, guese but also needing to do so for audi- but rather use tradition as part of the tions at Cirque du Soleil as well as other training while they are honing their tech- gigs. It always feels like home when I get nique and performance skills. It allowed to work on Brazilian repertoire with a me to help guide them to a successful student. level of communication through music while focusing both on technical abilities Is there any goal you still dream of achieving? as well as on a truthful delivery of text. Most definitely. It feels like I’m only begin- What are you presently work on? What's ning and sometimes I find myself being is your next project ? I’m currently You have a diverse skill set, what kind of just like the little girl I was, confused and preparing myself to music direct Guys and work most fascinates you? What I love the curious to see where music was going to Dolls at the Loewe Theatre at Steinhardt most is working with people and learning take me next. I guess this is just how it in September, followed by a concert from others. I truly love music directing goes when you are in the business of version of Anything Goes at the end of the because it is where I get to tap into many creating something as abstract and as Fall. of the skills I’ve been honing throughout concrete at the same time as music. my life and career, and it is also the most It feeds the mind and the soul and it is an This year Brazilian are celebrating 60 rewarding community experience where unexpected road to be followed and years of Bossa Nova. Do you believe that I get to work with so many singers and explored. Brazilian Music has captivated the world musicians and make music together. and can it get a revival in the US, like While growing up some people would tell If you had stayed in Brazil would your Bossa Nova was in the 60s? Brazilian me that I had so many interests (piano, career have developed like in the US? It is music has not only captivated the world bass, voice, conducting) that I would hard to predict, but I believe I would most but changed the way we interact with never be able to fully focus on anything. likely not have gotten the chance to work American Jazz as well as influenced However, I find that all these interests and learn more about American Musical Broadway. What it is commonly known have given me a greater ability to focus on Theatre, for the Musical Theatre market in and identified as Brazilian music is the detail and equipped me to enjoy diverse Brazil is still relatively small. Here, both style that was being written during that opportunities and play a myriad of musi- high schools and Universities put on time period, but I do not believe a lot of cal styles. I truly enjoy the rehearsal musical theater productions every year, the music that has been written in Brazil process, even more than an actual perfor- for it is part of their culture. That is how I at the moment resembles the same mance, because it is then that I have the came in contact with musicals and was characteristics of earlier MPB. However, it opportunity to make music with others able to learn the differences and nuances is my hope that American audiences will and create the final sound that till then it between classical conducting versus regain the motivation to once again focus is only abstract in my mind. I find it to be a musical theatre conducting. on the music of that time and develop an surreal experience when you finally hear appreciation for it that will lead to the sound you envision and witness a another revival in the US. room full of musicians playing so in sync; Do you ever think of going back to it is almost as if every heart in the room is Brazil to work and pursue a career there? Feel free to add any other information or beating at the same pulse for a moment in I never say never, but at the moment it is comments that you deem relevant ... time. not something I’m considering. I believe It is great to have the opportunity to share I can contribute more effectively by with the readers a little of my story and How did being Brazilian influenced your collaborating with my colleagues in Brazil I want to thank everyone who were part of career? Besides the richness of the expe- while continuing to pursue my career in my journey so far, family, friends, mentors riences with Brazilian music and all the the US. I’ve been engaging with the Brazilian and colleagues. Without the support and positive aspects of how the Brazilian community through webinar series as well guidance of so many I would certainly not culture and tradition influenced my music, as occasional visits to the country have surpassed some of the obstacles there were challenges related to lan- to minister workshops and masterclasses, faced along the way. It is my hope that guage. I grew up in a very small town and it is always an incredibly rewarding the dreamers reading this interview will where I didn’t have the resources or experience, and one I’m most grateful for. find encouragement in these words as opportunity to learn a second language. I found encouragement through the life of This became the first great barrier upon Who would be your dream artist to collab- Joseph, while being reminded of his story arriving in the US at age 23, for I had to orate with? I guess I’ve missed my chance while playing on the tour of Joseph and learn English and learn it fast to pass the to collaborate with Leonard Bernstein and the Amazing Technicolor Dreamcoat. May Toefl exam in order to continue in the George Gershwin, so I will have to wait we all persist like Joseph until we achieve master’s program. When my career was and see who hires me next. I feel privi- our goals and be able to share with others already established, being Brazilian and leged and grateful to Alex Lacamoire for and make this world a better place by how able to interact with professionals from the opportunity he gave me of working on we live while in it. Brazil was a great gift and allowed me to Hamilton. Working with and learning from open my horizons while investigating the him was an opportunity I never dreamt implications that translated material possible. (English - Portuguese or vice-versa) have www.anaflaviazuim.com on the singing voice due to vowel choices across the vocal range.

Photos by: nyu.edu/about/news-publications

wo years after his debut album “Suite Três Universidade Estadual de Campinas (São Paulo, Rios”, Dan Costa records “Skyness” at Arte Brazil). He has attended workshops coached by mu- Suono studios in Italy, an invitation to outer sicians such as Kevin Hays, Scott Colley, Kurt Rosen- harmony and inner peace. It features US sax winkel, Jorge Rossy, Chick Corea and César Camargo Tplayer Seamus Blake, Brazilian flute player Teco Mariano. He has co-directed musicals, performed Cardoso and Portuguese guitarist Custodio Castelo with orchestras and big bands, and starred as both a as well as Brazilian guitarists Nelson Faria, Romero pianist and composer in projects in countries such as Lubambo and Roberto Menescal, one of Bossa the UK, France, Finland, Germany, Spain, Greece and Nova’s foremost composers. The album takes the the USA. In January 2016, he recorded his debut listener on a journey inspired by the sky and its unify- album “Suite Três Rios” in Rio de Janeiro, Brazil, ing strength, reflecting ideals of open- mindedness with musicians such as Jaques Morelenbaum, and embracing styles such as Bossa Nova, Samba, Ricardo Silveira, Teco Cardoso, Rafael Barata, Fado and Flamenco. It is also an ode to the idyllic Marcos Suzano and Leila Pinheiro. It peaked at #1 on Cycladic islands in Greece, where most of the tracks the iTunes Jazz Chart and Top 10 across all genres in were written. Portugal, prior to hitting the #1 slot on the CMJ Top Adds Chart in the USA and being top 10 for several Praised for his musicianship by Down Beat Magazine weeks on Roots Music Report. One of the best and All About Jazz, Daniel Greco Costa, known as albums of the year for Down Beat Magazine, it Dan Costa, was born in 1989 in London (UK) to a achieved rave reviews from countries such as the Portuguese and Italian family. He initially studied USA, Russia, Canada and Brazil. It was performed live classical piano for six years at the Académie de in countries such as Greece, Brazil, India, Cyprus, Musique Rainier III in the south of France, and under- Italy and Israel. went further classical training at the Académie Inter- nationale d’Été de Nice as well as at the Aurora Music In May 2018 he recorded his new album "Skyness" at Star Festival in Sweden. He was awarded a diploma Arte Suono in Italy, featuring US sax player Seamus with merit at Sir Paul McCartney’s Liverpool Institute Blake, Brazilian guitarists Nelson Faria, Roberto for Performing Arts in the UK. His strong interest in Menescal and Romero Lubambo, Brazilian wind his Latin roots coupled with his passion for jazz led player Teco Cardoso and Portuguese Fado guitarist him to study at the Escola Superior de Música e Artes Custodio Castelo. do Espectáculo in Portugal, where he graduated in jazz piano with an award for outstanding achieve- SKYNESS ment, bestowed upon him by Rotary Club Porto-Foz Release date: September 2018—Worldwide in 2015. During his course, he was also awarded a http://www.dancosta.net merit grant to study Brazilian music at UNICAMP –

BOSSA MAGAZINE Interview with

PORTINHO Drummer

By Madalena Sousa/Editor In Chief

The drummer and arranger, Portinho, was born in the south of Brazil, in a town called Rio Grande/RS. He is a quiet, modest man and with integrity. Since arriving in the US in the 1970‘s, Portinho has worked with such Latin Jazz royalty as Paquito D’Rivera, Airto Moreira, Gato Barbieri, Harry Belafonte, Dom Salvador, Astrud Gilberto, Michel Camilo,Tania Maria, Nancy Willson, Herbie Mann, Ron Carter, and many others. He has contributed to the recordings of Yana Purim's "Harvest Time" as well as played on the album at the Mikell's Jazz Club (New York City), with a group composed by Argentine pianist Daniel Freiberg and Texas bassist Frank Gravis. Portinho also worked in collaboration with the trombonist and longtime associates Claudio Roditi and Jay Ashby, whose lyricism carries Carlos Lyra’s "Canção Que Morre No Ar".

Everything he plays encompases a statement and the groove never stops - " Modern Drummer“, portrait by Carl Stormer (1988).

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VIDEO LINK Photo Credit: Christopher Drukker 14 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Bossa Magazine by Madalena Sousa Editor In Chief BRAZILIAN PERCUSSION SERIES — PORTINHO ortinho has performed on tours in What made you move to New York City? listened to a lot of music, trying to figure out several countries such as Denmark, I wanted to develop my playing and meet jazz how I wanted my drums to sound. Now, Switzerland and Germany. In 2008, he musicians. I already knew some musicians unless I play a commercial gig or work behind recorded his own Jazz MCG CD entitled living in New York City, and had met Charlie a singer who needs something specific, I will P"Port Wine" with his "Portinho Trio". In it Rouse in Mexico but did not know how to play pretty much like Portinho. there is a perfect balance of drums, piano, reach him. For months hung out, listening bass and trombone. It includes Portinho on and meeting people. Later on, Airto Moreira What record do you feel gives the best repre- drums; piano, bass and trombone with discovered that I was in NYC and invited me to sentation of your playing? My second CD Portinho (drums), Klaus Mueller (piano), play in his group. This was right after Airto “Vinho Porto” (Port Wine) recorded with my Itaiguara Brandão and Lincoln Goines (bass and Flora Purin had recorded the “Fingers' trio; it represents my signature playing. and trombone, respectively) and special album. I worked with them for six months. I guest Jay Ashby (percussion). The CD has then spent two months in California but re- The Samba you first learned when you were a songs arranged by Portinho and Mueller turned NYC to Gato Barbieri. kid has changed through the years? Yes, Klaus. "Port Wine" which combines songs much has changed since then. There are from Brazilian genres of Bossa Nova, samba some many different types of samba, and and songs from the New York City jazz scene. whatever tempo you play, it is still samba! In general, samba is in 2/4 meter, with an After 48 years of living in the United States, emphasis on the upbeat. The surdo pattern Portinho continues playing drums in New has not changed a lot in traditional samba. York City and other countries in classic form. From where I come from, they play different In a interview with Bossa Magazine, Portinho rhythms like baiao, candomblé, coco, xaxado, shares about his professional journey. Get to caterete, and frevo. know Portinho today! What is to play pretty much like Portinho? In an exclusive interview with Bossa Maga- Just think of Samba and Jazz, at the same zine, Portinho reflects on the highlights of his time, and play! Let the creation get in! professional life since his arrival in the USA. That’s it!

— By Madalena Sousa Discography

When was your first encounter with percus- RON CARTER – (JUST RECORDED A WEEK AGO) sion instruments? I started playing pandeiro NANCY WILSON – TURNED TO BLUE GATO BARBIERI - LIVE AT THE BOTTOM LINE, VIVA EMILIANO ( tambourine ) with my father and my older ZAPATA, LA DESBANDADA AND RUBIRUBI brother at seven years old. I joined in while HARRY BELAFONTE - TURN THR WORLD AROUND they were rehearsing with their group PAQUITO D'RIVERA - WHY NOT, EXPOSION AND MINUS ME TANIA MARIA - COME WITH ME AND MADE IN NY ( Regional do Chiquinho ). They played Chori- ELIANE ELIAS - PAULISTANA nho, a type of classical Brazilian Music but ASTRUD GILBERTO - TEMPERANCE with deeper rhythms. When I was ten years CLAUDIO RODITI - SLOW FIRE MANFREDO FEST - BRAZILIANA, JUNGLE CAT, TO BEGIN AGAIN old, I performed with my father‘s group for How did you get to play with Gato Barbieri's AND FASCINATING RYTHUM the first time. It was scary. It was my first time Group? When I came back from California, DOM SALVADOR - MY FAMILY playing in public. The group played samba someone told me that Gato was looking for a CLAUDIO RODITI & PAQUITO D'RIVERA - RETURN TO IPANEMA LENNY ANDRADE - IN MEXICO with a never-ending fast beat. When I was percussionist. I actually got the gig with HENDRIK MEURKENS - A VIEW FROM MANHATTAN, OCTOBER eleven years old, I started playing percussion Gato’s band in 1974. During a break in a COLORS, POEMA BRASILEIRO AND DIG THIS SAMBA at a samba school, with neighborhood guys. rehearsal, I was fooling around with the MICHEL LEGRAND - LE JAZZ GRAND MIGUEL BRAGA – (TRANSATLANTIC) MADEIRA JAZZ FESTIVAL LIVE Mostly, in the streets, then at Carnival every drums. When Gato came back to the studio RECORDING year, in dance clubs. We were playing for the said ‚“I did not know you played drums money. I first learned how to play all percus- like that“. I said: “Well, I told you I was a sion instruments. Following my time in the drummer.“ My first gig with him turned out to Army, I started playing drums. be as a drummer, not as percussionist.

Who were your music influences? When I was I worked with him for two years and played young, I was influenced by my brother. on few of his records. After I left Gato in 1976, I I then started listening to Jazz in the 1960’s; worked as a freelancer musician. I played especially Tony Williams, Elvin Jones, and with the Lloyd McNeill quartet at a Lower East Max Roach, and Art Blakey. It was very diffi- Side club called "Tin Palace“. That was the cult to get records in Brazil during the 1960’s; first time I played with Ron Carter. still very difficult to do so.

When did you start working as a professional drummer? I started playing in a big band when I was in my early 20s at dance parties. We played everything; Samba, baiao, mam- bos, cha cha cha, and American big band swing tunes. This was before rock’n roll. PORTINHO TRIO Klaus Mueller, piano Who are your favorite musicians? I love to Lincoln Goines, bass hear the pianist Oscar Peterson and Errol Garner. Portinho, drums

What kind of equipment you are presently Contact: [email protected] using? Mapex Drums & Paiste cymbals.

How did you get start playing with Breno Sauer Group in Brazil before you came to US? Breno Sauer called me to play on a gig. I had always wanted to play with his group. I was Dom Salvador was the pianist. I began receiv- the substitute for about a week. Turns out, ing calls for studio work. I worked with Charlie I continued playing with them for 12 years! Rouse and with Dom Salvador in 1976; we We did several records in Brazil, and received recorded the album “My Family”. two awards for best instrumental record. At that time, the instrumentation was like the What is your playing signature? What makes Modern Jazz Quartet: Vibraphone, piano, your playing different from other drummers? I bass, and drums. We played many songs by like to play the syncopation straight forward American Jazz composers with samba swing. (para frente). I developed my own style from We played in Brazil until it became necessary listening to many different musicians. Good to leave the country. In 1971, we contracted musicians always play something that you to play in small club in Texas called Nuevo can incorporate into your own playing: The Laredo. We were playing there for about two way they phrase, how they swing in their months when we secured a one year contract solos, etc. For example, Herbie Hancock, When buying Portinho’s CD you are to play in Minneapolis. Shortly thereafter, we Clifford Brown, Oscar Peterson, or Oscar automatically donating to Brazilian Mu- began touring the United States and Canada. Pettiford are rich in their rhythmic playing. sic Foundation by using Amazon In 1973 (twelve years after playing with Breno You don't have to play like them but, you can Smiles—Click the image Sauer Group), I decided to move to New York take advantage of what they play. When I City. started, I did not think about this. I just 15 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12

Interview with Roger Davidson

or Roger Davidson, music is a world in 1962; the second was when I started Do you frequently perform anywhere? without boundaries. Though com- writing my own Brazilian tunes in the I perform in New York City (from time to monly termed a classical artist, 1970’s; third was when I first heard Brazilian time), and sometimes in Brazil. Most of Roger has developed a fearlessly carnival samba music. After that, it was in my time is dedicated to composing Feclectic reach, both as a composer and Brazil when I travelled to Rio de Janeiro music. pianist. “Music is for the world,” says to play my music. Additionally, my fondest Roger, whose acclaimed catalog ranges memories of Brazilian music are the tunes What's your next project? To date, I’ve from chamber, symphonic, and choral I have been writing for my wife Nilcelia in published two books of my Brazilian pieces to jazz, tango, Klezmer, children’s the last five years since we have been tunes, and am putting together a third music, a wide span of Latin and Brazilian together. She is (now) my greatest inspi- one, which should be out in 2019. I am projects. His recently published books of ration! interested in getting more of my Brazilian original Brazilian-inspired compositions, compositions into the hands of other To Brazil with Love , and Saudade do Bra- Who are your favorite Brazilian musi- musicians. sil, represent the variety of his Brazilian cians? Rhythm? Groups? CD's? Tom compositions. Jobim, Carlos Lyra, Marcos Valle, Francis Feel free to add any other information or Hime, Gilberto Gil, João Donato, Sergio comments that you deem relevant ... Michael G. Nastos of All Music Guide Mendes, Leny Andrade, Roberto Menescal, termed him an “extraordinary” pianist Jorge Ben, Vinicius de Moraes, and many My love for Brazilian music feels very devoted to “reaching for the inner soul.” others. My favorite Brazilian rhythms are organic; I am not just approaching it out Jazz Weekly’s George Harris labeled him all of them! And, I love samba music for of curiosity, but rather out of a deep “one of the most lyrical and romantic carnival. As for CDs, there are too many passion for Brazilian culture. For this pianists around.” As both composer and good ones to mention! reason, Brazil feels like another home pianist, Davidson reaches out to cultures country; when in Brazil or among outside his countries of origin -- and Were you influenced by old records from Brazilians here, I never feel like a foreigner. having been born in France, raised in the Brazil? Which ones? Brazilian records United States and having traveled exten- which I heard while growing up were sively, music from around the world has mainly by Jobim, João Gilberto, Carlos Upcoming event: been a major theme throughout his life. Lyra, Vinicius de Moraes and Milton But the country that keeps coming back Banana. Sun, September 23 @ 4PM to him is Brazil. Jazz Forum Did you record any CD with Brazilian Davidson’s life-long love affair with Tunes? Did you record any other CD? 1 Dixon Lane Brazilian music has recently been I have recorded several CDs with my own Tarrytown, NY 10591 information. enhanced by the love of his life, Nilcelia Brazilian tunes, including a double CD set Davidson, who continually inspires a large recorded in Rio de Janeiro in 2011. My body of work in this genre. Davidson has latest CD, to be released in September TICKETS recorded several albums with renowned 2018, is called “Music from the Heart” and Brazilian musicians, including Journey to is mainly a love note to my wonderful Rio, a double-CD of his Brazilian composi- Brazilian wife, Nilcelia. tions, recorded in Rio de Janeiro in 2011. NEW CD RELEASED ON SEPT /2018 More recent albums include the live CD, What do you expect of the future of Oração para Amanhã, and the upcoming Brazilian Music? I think the world loves Music from the Heart, both with Hendrik music from Brazil, as it seems to connect Meurkens on vibraphone and harmonica. everybody in a spirit of joy – so I think Brazilian music has a great future! When did you start playing piano and singing? Do you also compose? I started What rhythms do you like the most? playing the piano when I was four years (see previous questions) – All of them! old, and began composing at age six. And I love “batucadas”, as I also play some percussion instruments. When did you get involved with promoting Brazilian music? I first heard Brazilian How do you see the bridge between jazz music when I was ten years old, and have and Bossa Nova? There is a natural been in love with it ever since. Later on, bridge, as they go together very well; one I started writing Brazilian tunes, then influences the other. actively recorded and performed them. How can Americans become more aware Why did you choose Brazilian music? of Brazilian music? Americans can I love Brazilian music because of its become more aware of Brazilian music rhythms, melodies and the passion of its by listening to the first jazz samba CDs spirit. from the 60s and 70s, as well as by listening to Brazilian musicians playing and singing What was the first Brazilian tune(s) you in all styles of Brazilian music. They can http://www.rogerdavidsonmusic.net learned? The first Brazilian tune I learned also learn to dance to Brazilian rhythms. was “Garota de Ipanema”. The first Brazilian tune I wrote was “Brazilian What kind of message do you want to Love Song” (in 1978). send to the world with your music? I want to send a message of love, joy, What are your fondest Brazilian musical passion, building cultural bridges and memories? The first was when I heard faith in the future of the world. Stan Getz play Brazilian music on a record

’s not unusual to hear comments that Paulo Braga is It perhaps one of the greatest PAULO Brazilian drummers or stories about his decade-long legacy playing with Tom Jobim’s band.

Paulo has accompanied artists such BRAGA as Elis Regina, Tim Maia, Carlos Lyra, Emílio Santiago, Simone, Chico Drummer par excellence Buarque, Nara Leão, Gilberto Gil, Djavan, Ivan Lins, Edu Lobo and many others. During the 1990s , he lived in the USA and played with Joe Henderson, Pat Metheny, David Sanborn, Michael Brecker and John Pizzarelli.

Currently, he plays with Jobim Trio, featuring Paulo Jobim (Acoustic Guitar) and Daniel Jobim (Piano); Tom Jobim’s son and grandson.

Paulo Braga’s interview is a personal retrospective:

In the beginning of the Bossa Nova, you were about 18 years old. How was the movement at that time, and who were the drummers that influenced you?

When Bossa Nova started we were young and I lived in Belo Horizonte. My generation listened to everything. The “movement” included many great composers such as: Tom Jobim, Carlos Lyra, Roberto Menescal, Marcos Valle to name a few. I belonged to a trio with Wagner Tiso and Milton Nascimento (known as “bituca”). We were fans of Tamba Trio. I liked drummers Edson Machado and Dom Um Romão. My strongest influence was certainly Helcio Milito; his drum brushes were unmatched. My “idol” however was Elvin Jones.

BY MILA SCHIAVO Elis Regina and Paulo Braga

How do you see the Bossa Nova today in Brazil and in the world?

Bossa Nova continues to have a presence around the world and, of course, in Brazil. In my opinion, the music has endured.

Please give a tip for a drummer that is beginning the career?

My advice to those early in their careers is to follow your intuition which is how I charted my journey. Be sure to include your personality in the music and avoid copying.

What is your favorite type of music? You played with the most influen- I like many types of music especially tial names of the Bossa Nova, what the soul music that I recorded with Tim was your differential? Maia, Djavan, Elis & Tom, and Raul Seixas, all of which were great hits. I played with Elis Regina who called Hard to specify! me a “carioca mineiro” (a person born in Minas Gerais but appeared to originate from Rio de Janeiro). Tom Jobim said that “I made the Berimbau Trio: Wagner Tiso, Paulo Braga and Milton Nascimento drums a musical instrument”; he was very generous. I worked with an American studio technician who said: “Braga, you can be invisible but when I turn your drums off I feel that something is missing in the music”.

How is the Jobim Trio Going?

We have two formations: The “Jobim Quartet” with me, Rodrigo Villa (bass), Paulo Jobim (guitar) and Daniel Jobim (piano); and “Banda Nova” which is Tom's original band consisting of me, Jaques Morelenbaum (cello), Paulo Jobim and Daniel Jobim. We’ve been performing around the world. Sources & Photos: Photos: Paulo Braga’s Facebook

Since then, she’s been working in NYC in the fashion industry, creating designs for baby, children and women apparel and accessories, for clients like: Lucky Brand, Roxy, Reebok, Elle Baby, Macy’s, etc. Recently, she worked on a project designing Christmas sweaters at the largest company in the field in the US.

On December 3rd 2017, Tati Vitsic had her first Christmas Pop-Up Shop, where she introduced her brand “Pommy New York”, exhibited original artwork and sold artistic and unique printed scarves, hand- bags, pencil cases and other products. The event took place at the Brazilian restaurant Beija-Flor, and had a performance of a live Brazilian band.

The Brazilian channel “Record News” covered the event: ati Vitsic was born in Rio de She worked at Alexander Interactive - Janeiro, Brazil, in April 1976. an award-winning internet company in https://www.youtube.com/watch? Daughter of an engineer father Manhattan - and created work for clients v=rjdpP1v9eIk&t=22s and an artist mother, she showed such as: Citigroup, Caché, Ivanka Trump, Ther talents to the arts very early. When Steiner Sports, PetCareRX, Kaplan, Action The designer was also interviewed by she was 10 years old, she started taking Envelope, etc. At Ai, she won an the largest TV channel in South America drawing classes and, as young as 13 Outstanding Achievement Award from “Globo International”, giving tips on years old, she was already participating the IMA (Interactive Media Awards), for how to make personalized Christmas in adult Art Salons. Since then, she being the leading designer at Caché Prom 2008 website. ornaments: https://www.youtube.com/ Salons and has won 4 medals and other watch?v=BzRW2KWwhmY&t=4s awards. Back in Rio de Janeiro, she created in In 1994 she started to study Graphic 2010 the stationery/invitations company Visit the online Pommy New York shop: Design in Rio de Janeiro. Two years later, MERCI DESIGNS and worked as a full-time designer at Petrobras. she lived in New York City and took https://society6.com/pommy/collection classes at the School of Visual Arts in Illustration, Graphic Design and Comput- In May 2014, Tati finished an Associate er Art. In New York, she had the oppor- Degree in "Textile/Surface Design" at For more info about Tati Vitsic and to tunity to take classes with the designer Fashion Institute of Technology, in New see her portfolio, visit: Milton Glaser and to participate in some York, and created her surface design lectures with well-known artists, like the brand Pommy New York. www.tati.com.br. illustrator Paul Davis.

In Brazil, she took illustration and engraving classes with the artist Amador Perez and also studied children's book design and illustration with Guto Lins. The medium she uses mostly in her artwork is pastels, but she also utilizes pen, pencil, colored pencil, dyes, gouache and digital illustration.

Tati Vitsic graduated in 1999 and worked for some graphic design companies. A year later, she started working in the web design industry, developing Html and Flash skills and specializing in web design. She also took marketing classes at ESPM in Rio, and in 2002, she started working as a marketing assistant at USA Network TV Channel, being responsible for their website.

After a couple of years working as a freelancer, she decided to go back to New York in 2005 to start a career as an international designer.

The Story of the Brazilian Music That Seduced the World

BOSSABOSSA NOVANOVA

Bossa Nova was a movement of Brazilian popular music that emerged in the late 50's, characterized by a musical style with strong influences from American jazz and samba from Rio. During the 1950s, Brazil was experi- encing the euphoria of economic growth generated after the Second World War. Based on the "Golden Years" wave of optimism, a group of young musicians and composers from the upper middle class in Rio de Janeiro began to look for something really new and capable of escaping the operatic style that dominated Brazilian music.

This all happened in the midst of the process of urbanization and indus- trialization in Brazil, under the government of Juscelino Kubitschek (1956 -1961), with the Goals and Development Plan Policy highlighted by the 60 YEARS motto "five years in five". The economy grew, Brasilia was built, the Brazilian team won its first World Cup. It was in this environment, with a lot of cultural effervescence, that Bossa Nova conquered the most refined ears. Since then, the Bossa Nova has been the standard.

The Story of the Brazilian Music That Seduced the World

BOSSABOSSA NOVANOVA

Bossa Nova emerged more precisely in 1958 , with the launch of the single disc of João Gilberto, one of the greatest representatives of the musical movement. The word “Bossa” was Carioca slang that, at the end of the 1950s, meant “new way”, “new style”, “new trend.” However, the term "Bossa" was used for the first time in a song composed by Noel Rosa, “ São Coisas Nossas” (Our Stuff) in the 1930s. The movement emerged with the intention of seeking something new and with this, young people from Rio come together to create a musical innovation.

The new sound conquered the world in the sixties and was immortalized in Brazil and many other places around the world. The Bossa Nova craze in the United States was sparked by a legendary concert at Carnegie Hall 60 YEARS in 1962. Featuring such figures as Tom Jobim and João Gilberto in performances of such classic songs as "Samba De Uma Nota So,” "A Felicidade," and "O Barquinho". This performance was a landmark event that introduced one of the most influential Latin America’s musical styles to the world, the Bossa Nova!

Art by Madalena Sousa

Bossa Nova Avant-garde Popular Music - By Rafael Lemos

way of being Brazilian. In contrast, twelve half-tones of a scale) in Brazil, Is it possible to have avant-garde from 1956 to 1961 under the presi- and later studied with Tomas Terán- popular music? dency of Juscelino Kubitschek, Brazil a Spanish composer close to Villa- underwent an intensive process of Lobos. As one of the main names of At first glance we may think that progress and modernization. To align Bossa Nova movement, Tom highly these two terms, “avant-garde” and with this industrial boost, the Ku- regarded Brazilian cultural diversity, “popular” are opposites. In fact, con- bitschek government supported a shift but his composing style employed sidering the definition of avant-garde towards new and more international modern techniques not previously that the 20th century left us, it is diffi- cultural directions. Built during the used in Brazilian popular music. In cult to imagine something that could JK years, Brasília is the most repre- the same way, Vinicius de Moraes, a be further from what we call popular sentative work of his tenure. notable Brazilian poet and diplomat, music or, more acutely, pop music. had an exceptional knowledge of “Avant-garde music” - or at least Connected to the events of its own humanistic tradition, and as a song- what is usually called “avant-garde” - time, the Bossa Nova movement writer he was able to combine it with is comprised of a broad range of new relates the post-war artistic mindset Brazilian popular traditions, bringing musical definitions, from intricate to the form of samba (considered the Brazilian popular music to a more compositions that could sound weird official Brazilian musical manifesta- sophisticated lyrical level. We also (but still music!) to sparse sounds tion during Vargas era). The traditional have to mention Newton Mendonça, coming from different speakers made rhythm of samba as well as its har- who wrote the lyrics for “Desafinado” to be specifically appreciated in a mony were broadened to fit the and “Samba de uma nota so”, two of certain space (and that would sound sophisticated musical ideas coming the mosT emblematic Bossa Nova like no music at all!). Additionally, directly from avant-garde composers. songs. another definition is necessary: while It made samba seem a little bit out of “pop music” may refer basically to range to listeners accustomed to the One of the novelties Bossa Nova the same thing in the US and in Brazil, tonal system and the usual patterns brought to popular music in Brazil popular music can roughly corre- of samba. The lyrics of “Desafinado”, was the consonance between the spond to the broader sense of Ameri- one of the most acclaimed Bossa sounds of the words and melody and can “folk music” (for instance, post- Nova songs, is about this phenome- harmony. Furthermore, the intent of 1965, Bob Dylan, the Grateful Dead, non: the singer is trying to convince unifying content and form was also and Belle and Sebastian could still be his loved one that he is not singing an innovative feature brought in by considered folk). out of tune,“isto é Bossa Nova, isto é the Bossa Nova movement. In this muito natural”. He is trying to explain sense, João Gilberto appears to be In Brazil, the decade of 1950 was that bossa employs dissonant tones the singer of the era. Although a marked by the rise of new features in in its composition, and that he is not declared fan of Orlando Silva (a fa- the artistic field. If the Modernist out of tune; the thing is that disso- mous Brazilian singer, known for his movement maintained a dialogue nant sounds are also part of music. At operatic style of singing), João with regional Brazilian traditions, the end of the song, the singer gives seemed to be aware of the new musi- Post-war Avant-garde movements up on his expectation of being under- cal technologies; the use of micro- were oriented toward universal con- stood and says that deep within the phones and speakers allowed him to cepts. The debate of regional versus out-of-tune singer, a heart beats, too. develop a new style of singing, exper- universal would last for at least two In other words, out of tune or not, we imenting with the duration of each decades in Brazil, and its influence in have feelings, too (or we compose syllable in a word and holding the all art is evident. For instance, instead songs, too). What is to be taken from duration of the notes of the melody of a neoclassical appearance, the this is that Bossa Nova built a bridge over the harmony, which made him works of Oscar Niemeyer and Lucio between popular and classical music, sound more like he was talking than Costa demonstrate a radical turn in similar to what modern jazz did in the effectively singing. architecture. In poetry, the concrete United States. The processes that poetry movement intended to put an both movements assimilated into All these new features mentioned end to the verse and to compose popular music are somewhat com- above contributed to the develop- poems in a minimalistic form. mon in classical music. This bridge ment of the unique sound of Bossa was paved by composers who were Nova. On November 21, 1962, these Usually, popular music doesn’t take either learned in classical music or musicians performed a landmark place in this discussion, but the were personally aware of the changes concert at Carnegie Hall, drawing the Brazilian political situation at that in music during the twentieth century attention of musicians such as Stan time may have opened a path where and were also somehow connected Getz, Charlie Byrd, Herbie Mann, Dave both worlds, popular and avant- to popular music. Brubeck, Miles Davis, Bill Evans, garde, could meet. Concerning artis- among others. Since then, Bossa tic manifestations, Getúlio Vargas, Tom Jobim, for example, was disciple Nova became an worldwide influencer president of Brazil from 1930 to 1945, of Hans-Joachim Koellreutter- a among both popular and classical and from 1951 to 1954 adopted a German composer who introduced composers, players, listeners and position of valuing regional themes dodecaphony (a composition tech- music lovers in general. as a way to build the notion of nique established by Schoenberg, “brasilidade”, an officially sanctioned consisting of the equal use of the

The Radio Era 1930-60 Dorival Caymmi, Carmen Miranda & Assis Valente in 1939. How did Brazilian Music sound before Bossa Nova?

The Brazilian music scene in the 1950’s Radio was the from the radio era were, Orlando Silva, Carlos Galhardo, main mass communication vehicle in Brazil between Ataulfo Alves, Linda Batista, Alaide Costa, Luiz Gonzaga, 1930 and the early 1960s. Back then, there was no TV. Carmen Costa, Nelson Gonçalves, Dalva de Oliveira, The arrival of the radio has completely changed the Dolores Duran, Cláudya, and others, were part of the feeling of isolation. Through this apparatus, millions of "cast" of the recording artists who made a mark on people had access to news, music, radio novels, humor, Brazilian popular music in the Radio Era. The singers sports and variety programs, all at a speed never with a strongest voices were the most prominent but imagined. Singers and composers enchanted crowds also marked with the period of depressing lyrics. from north to south. The radio was a fundamental instrument of change, of mindset — and dominance of the The most important broadcaster in Brazil, which would American cultural in dusty in Brazil. become a model for others, was the National radio, from Rio de Janeiro. The ground zero in the history of radio in Brazil is September 7, 1922, when the country celebrated the centenary of independence with the transmission of the speech of the President Epitácio person.

Radio Mayrink Veiga had already been on the air for ten years, but it lost the lead as soon as the National Radio went on the air. From that day, popular imaginary, customs and culture would never be the same. The radio created and maintained idols, and determined the standard for voices that would keep their magic and be able to guarantee their expansion in the market. Aware of this role, the singers and composers, when signing the contract to join the National cast, knew they were putting their names in history. Some of these musicians

The Pre-Bossa Nova Era The depressing songs sounded like this:

The 1950's were marked worldwide by great scientific “Ninguém Me Ama, niguem me quer” advances, along with technological, cultural, and “ Nobody loves me, nobody wants me” behavioral changes. It was the decade when television broadcasts began, causing a major change in media. In Composers: Antonio Maria & Fernando Lobo (1952). the field of international politics, conflicts between the capitalist and socialist blocs (Cold War) gained more Ninguém me ama, ninguém me quer and more strength. The decade of 1950 is known as Ninguém me chama de meu amor the golden years era. A vida passa, e eu sem ninguém E quem me abraça não me quer bem The music played at this time was a mix from interna- Vim pela noite tão longa de fracasso em fracasso tional orchestras that created fashionable rhythms E hoje descrente de tudo me resta o cansaço made for dancing like fox, blues, bolero, be-bop, Cansaço da vida, cansaço de mim calypso, and rock ' n roll. The big musical news for this Velhice chegando e eu chegando ao fim period was the baião ( rhythm from the North East of Brazil introduced by Luiz Gonzaga, and samba-canção *** (literally it means “samba-song”, a slower tempo than Nobody loves me, nobody wants me traditional samba), mostly depressing songs, called No one calls me my love the ‘samba-fossa’ (samba pit), like “ Ninguém me ama, Life passes, and I have no one ninguém me quer” ( No one loves me, no one wants And who hugs me doesn't want me well me) by Antonio Maria & Fernando Lobo (1952). Sérgio Cabral in his MPB work during the Radio era, attributed I've come for such a long night of failure in failure the mix of bolero with samba to the foreign influence And today I am unbeliever of all I have left the fatigue that occurred in the second half of the 1940s. Movies, Tiredness of life, tired of me records, and radio broadcasting were dominated by Old age coming up and I coming to an end the bolero, the rumba and the mambo. The influence was so great that El Cubanito, a successful singer in *** these Hispanics genres, was a carioca, named Álvaro Francisco de Paula. The sun rising period

The mix of bolero with samba was called the Sambolero Still in the 50s, great singers emerged, composers who and remained in evidence until the end of the 1950s. have innovated themes and forms of singing. Dorival The drummer mixed both styles and did not distin- Caymmi, Antonio Carlos Jobim, Vinicius de Moraes guish between the Sambolero and the samba-song. were exponents of this period. The Pre-Bossa Nova The lyrics of these sambas were almost always prepared them for the advent of MPBM – Modern depressing. As this period was transitional to modern Brazilian Popular Music, represented by three major Bossa Nova. This era was a bridge and in it the innovative musical movements: The Bossa Nova, the veterans of the golden age were coexisting with the Jovem Guarda (Young Guard), and the Tropicalia. newcomers on the stage, which gave rise to the Bossa Nova. Among the beginners, who played a decisive role in the creation of Bossa Nova, are the singers Dick The “Golden Years” of MPB (Brazilian Popular Music) Farney, Lúcio Alves, Silvia Teles, Dóris Monteiro, Luís was supplanted in importance only by the era of Cláudio, Agostinho dos Santos and the vocal ensemble festivals (1958-1973). It is deemed a period of grandeur of The Cariocas. Other singers and composers who since Sambas and Marches represented 50% of all the innovated were Tito Madi, Dolores Duran, Billy Blanco, recordings at the time by the extraordinary composers the arranger Lindolfo Gaya, João Gilberto, Newton like Noel Rosa, João de Barro and Lamartine Babo. Mendonça and Carlos Lyra. From this period the four greatest interpreters were Francisco Alves, Carlos G, Silvio Caldas and most Great instrumentalists of this period who contributed prominently, Orlando Silva. Pixinguinha and Radames to creating Bossa Nova were: Johnny Alf (who later Gnattali created the orchestration patterns for Brazilian turned out to be a good singer), Chiquinho do Acordeon, music. Ary Barroso produced “Aquarela do Brasil” ( The Luís Bonfá, Ebony Santos, João Donato and Paulo watercolors from Brazil), the most important piece of Moura. During this period, carnival music declined in the twentieth century, and Carmen Miranda was the popularity. most prominent name.

Author Vinicius de Moraes Lyrics & Music Antonio Carlos Jobim

PRE-BOSSA NOVA

The Play: "Orpheus of Conceição", debuted Camus, Vinicius de Moraes, and Jacques on September 25, 1956, at the Teatro Viot - directed by Marcel Camus. Although Municipal in Rio de Janeiro. Written by Vinícius rejects the cinematic result, the Vinicius de Moraes with music by Antonio film won the French main award - The Carlos Jobim, it would not only make a Palme D'or in 1959, as well as the award for mark in the history theater in Rio de Janeiro Best Foreign Film at the Oscars and the but also in Brazilian music, by putting them Golden Globe in 1960. The film was taped together, as partners, for the first time. The in Rio de Janeiro. The vast majority of play became the basis for the films “Orfeu actors were black (whites appear as police- Negro” (Black Orpheus) (1959) and “Orfeu” men, doctors and some carnival revelers) (1999), and for the musicals “Orfeu” (Brazil and the characteristics of African culture in 2010) and “Black Orpheus” (Broadway- Brazil are very striking. You can especially 2014). see it in the scene where Orpheus witnessed an Umbanda ritual (Afro- The Greek Myth of Orpheus and Eurydice is Brazilian religious ritual) . There are critics set in a contemporary favela in Rio de who acknowledge that the film "probably Janeiro during Brazilian Carnival. Abdias provided a first sample of Brazilian culture Bossa Nova and fell in love with it. There- do Nascimento was in the original cast. to more Europeans and Americans than fore, it is staggering to consider that it took Vinicius de Moraes transports us to the any other artistic work ". until 2008 for a definitive edition of the slums of Rio de Janeiro called “ Morro da soundtrack to be released, one that assem- Conceição” and tells the story of the The words from the play “Orpheus” regained bled all the songs and music heard in the Samba Orpheus, known on the hill for his worldwide prominence by being cited in film. Universal France has assembled all music. All the dialogues are rhymed and the “Origin of my dreams”, the Autobiog- the sound recordings into one 17-track rhythmic, in a production that is music and raphy of Barack Obama. In the book, the volume. These include the two original 45 pure poetry. You clearly notice Vinicius' American president describes the night EPs, and the 10" 33 rpm album, as well as hand in the play. It's completely fascinating! when, at the age of 16, he accompanied his some tracks that have never appeared mother to the cinema to watch the movie before now. Given the wild success of the The introduction for the first time of black Orpheus Negro. Besides the image of Christ readily recognizable album on both LP and people in a play and how Vinicius gave life the Redeemer, which appears from afar, CD over the decades, this amounts to an to the sambista who had always been mar- the film brings images of Rio de Janeiro of entirely new hearing of Brazilian music - ginalized was fantastic, apart from the the 1950, revealing the crowded trams, the bossa was emerging in Rio at the time too, beauty of the dialogues. It's alluring. The houses in the slums and the presence of as a brand new genre. The sounds of the piece is divided into three acts and is an domestic animals, like birds, chickens and various samba schools from the carnival experience that is recommend for everyone goats. parades are accompanied by the gorgeous because it is magnificent. It's amazing to Instrumental interludes by Bonfá (inclu- see a Greek myth set in a slum in Rio de ding the now ubiquitous "Manhã De Janeiro. Carnaval," written with poet Antonio Maria), and the songs of de Vinicius de Brief Synopsis: Moraes and Tom Jobim (including “A Felicidade," as sung by Elizeth Cardoso). “Orpheus is a black boy, seductive, handsome and flirtatious. He lives in a shack The songs may be well known now; the with his parents, Apollo and Clio. The first music of the favelas, as practiced by the meeting scene between Orpheus and Samba Schools with their agogô bells, Eurydice is executed with poetic words, atabaques drumming, stomping batacuda making evident the libido and true love solos, and duets, folk line chants, an that exists between them. Amid the eupho- unusual (even now if one thinks about it) ria of passion, Orpheus wishes to take The Music blend of African rhythms, dissonance, and Eurydice to the room, but she, even though extended harmonics, is still revolutionary she desired to, asks him to wait until after Through Lucio Rangel, the poet (Vinicius) today. A 13-minute encore medley by the wedding, which would happen secretly meets the composer (Jobim), and both Brazilian guitarist Bola Sete recorded in the next day.” work on the soundtrack of the play, intro- 1966 at the Monterey Jazz Festival, has ducing Luiz Bonfá later. It comes out as an been added as a bonus cut, "Manhã de The Film album in the same year, becoming one of Carnaval," "A Felicidade," and "Samba do the starting points of an aesthetic that Orfeu." The presentation is handsome. Back in 1955, Vinícius starts conversation in three years later would definitely be called

France with producer Sacha Gordine to Bossa Nova. The play, the film and the striking sound- transform the story of Orpheus into a film. track, were responsible for bringing the Titled “Black Orpheus”, an adaptation of Black Orpheus, the film, by Marcel Camus, Bossa Nova to foreign lands. This musical Vinícius's play, the Franco-Italian produc- and its soundtrack, were signposts by success spread Brazilian Music around the tion was released in 1959 written by Marcel which the world first learned of Samba and world.

Juscelino Kubitschek, or JK, Brazilian President ( 1956-1961 ).

Brasília The capital of Brazil One reason Bossa Nova came to repre- of goals. This plan focused on the deve - sent a “coming home” in Brazil is because lopment of five key areas Brazil’s econo- of the genres association with the presi- my; energy, food, industry, education, and dency of Juscelino Kubitschek. Commonly transportation. It was the hope that these referred to simply as “JK”, Kubitschek key areas could be improved through served as the Governor of the state of opening Brazil to foreign capital and Minas Gerais and on the National Con- improving Brazil’s tax policy. JK invited gress of Brazil before becoming Brazil’s car makers (like Ford, GM and 21st president. It is evident why the Volkswagen) to come to Brazil, and Kubitschek administration inspired hope opened several highways (in detriment of What Brasília within the Brazilian people. Even famed railways) to stimulate cars selling. Brazilian philosopher Thomas Skidmore described it as “the years of confidence” Despite creating unwanted inflation, has to do with within Brazil. Kubitschek’s plan was a success. Gross Domestic Product in Brazil expanded from In 1956, Juscelino Kubitschek de Oliveira 6.9% in 1955 to 9.7% in 1960 and growth Oliveira is elected President and creates in the industrial sector reached 80%. A Bossa Nova? the Company of Urbanization of the New function of this economic prosperity was Capital (NOVACAP). Kubitschek invites a a growth in confidence and hope g among young architect, Oscar Niemeyer, to com- the Brazilian people. mand the project. In that same year of 1956, work on site starts. In 1957, a public However, JK's darling was Brasília; to contest is won by urbanist Lúcio Costa, have the city finished by the end of his who presented the innovative ideas for term, he didn't hesitate in allocating the design of the new capital. His work financial and human resources to the became known as Plano Piloto (Pilot works; several Boeing's were rented to fly Plan). cement, sand and other supplies to the site. Upon taking the helm as Brazil’s Presi- dent, Kubitschek promised “fifty years’ Exemplifying this idea of hope in Brazil progress in five”, an ambitious target sup- was the genre of Bossa Nova, with its ported by several initiatives. One such carefree lyrics concerning largely the initiative was the Plano de Metas, or plan ideas of love, beauty, and the sea. While

Brazil’s Achievments -The Golden Years — Anos dourados"

the plan to create Brasília was initially created in 1821, Juscelino aimed to modernize Brazil in accordance with his pledge of “50 years’ progress in five”.

Brasília was commissioned to be built in 1955 with construction be led by Oscar Niemeyer, then a young architect lauded for his innovative and creative techniques. Oscar Niemeyer Situated in the state of Goiás, Brasilia captivated Brazilian citizens and international spectators alike. It epitomized what Brazil strived to become, a modern society. The Brasília

A second reason why Bossa Nova is often associated with a time of hope in Brazil is Project because the rise of the genre coincided with the modernization of Brazil. The modernization of Brazil culminated with the creation of Brasilia, Brazil’s new capital. Similar to the initiatives aimed at economic growth, the creation and development of Brasíl- iawas led by then President Juscelino Kubitschek.

As Brazilians became more hopeful about their country, they began to associate the contemporary music of the time, Bossa Nova, with the beneficial changes occurring. The economy grew; Brasilia was built; the Brazilian team won its first World Cup. The Ramp It was in this environment, with a lot of cultural effervescence, that Bossa Nova con- Inauguration quered the most refined ears. Since then, the Bossa Nova has been the standard. April 21, 1960 Again, this rapid development and modernization of Brazil coincided with the creation of and growth in popularity of Bossa Nova. Juscelino was so obsessed with the idea of being founder of Brasília that he officially opened the city on April 22 1960, before it was finished. Garrincha—1958

Despite only achieving mainstream popularity in Brazil for less than a decade, Bossa Nova made a lasting impact on Brazil as the representa- tive of hope during the time period. The soft tones of João Gilberto’s guitar and Antonio Carlos Jobim’s piano blended flawlessly with the hope created by the initiatives of Juscelino Kubitschek and the development of the new capital of Brasília.

Brazil is the first World Cup Champion — 1958

A turma da Bossa

Glória Paul, João Gilberto, Tom Jobim & the actress Silwa Koscina

All began on the tropical beaches of Rio de Janeiro in the late 1950s, when a small group of mainly middle-class students, artists and musicians came together to create a new sound. Bossa Nova was a soft samba based on traditional Brazilian music and rhythms, influenced by American Jazz, and a new style of Portuguese lyrics. It was a youthful celebration of romance, beach culture and sensual pleasure. For Bossa Nova the sea and nature was an endless source of inspiration.

The Bossa Group

The young musicians who were looking for something new, something other than those lamentations which were heard on the radio, began to compose in a different way. They thought Brazilian music needed to get out of the smoky, dark nightclubs and breathe new airs, that is, to go to the sea, since the night themes and the twilight environments sound of sambas-songs were not part of the beach and sportsman life they were used to living..

Roberto Menescal ,Chico Feitosa , Normando Silva, Carlos Vinhas, Ronaldo Boscoli, Helcio Milito , Luiz Eca, & Bebeto Photo date : late 50s

The singer Nara Leão, known as "The muse of Bossa Nova"

The meetings at Nara’s Apartment

“A turma da Bossa” - The Bossa Group used to meet at incorrect because, in fact, if there had been no meetings Nara Leão’s apartment in Copacabana to listen to music in her apartment then nothing would have happened. and show off their new work. Nine out of ten peopleWe can say that Nara Leão is responsible for these believe Bossa Nova started in Nara Leão's apartment, at meetings, and we can also say that she was the mother of Posto 4 in Copacabana, some time in the 1950s. The idea Bossa Nova. was that at that mythical address, every night, young men and women gathered, armed with their guitars, to As a woman the singer was also a seductress; she was a sing and play softly so as not to disturb their neighbors. brunette, with full thick lips, big teeth, a beautiful body This, of course, went on until the wee hours and it was and was very shy. It is impossible to think of Bossa Nova from these encounters that the soft and sophisticated and not to speak of Nara Leão, a singer who was able to style emerged which would revolutionize Brazilian popu- express the true feeling of this style which surpassed lar music which still perpetuates today. barriers, borders, and won the world! This is why we owe much respect to the image and work of this great These participants would be, in addition to Nara herself, Brazilian popular music singer who is of utmost the guitarists Carlos Lyra, Roberto Menescal and Chico importance to our cultural history. Everything was Feitosa, the guitarist and pianist Oscar Castro Neves and modern, daring, unexpected and a slightly agitated, the musical brothers Mario, Leo and Iko, the lyricist and syncopated and the new beat began to be born, unlike reporter Ronaldo Bôscoli, the pianists Luiz Eça and Luiz anything that had been heard before. Nara, the only Carlos Vinhas, the flute player Bebeto Castilho, among woman, was the center of attention. Nara was the great others. However, Nara never admitted that Bossa Nova inspiration, the muse of Bossa Nova and responsible for style was born in her apartment. She was partially recording the countless successes of these singers.

Bossa Nova's twin figureheads are Antônio Carlos Jobim (Tom Jobim), a gifted composer, also blessed with classical good looks, and João Gilberto, a guitarist and singer who came to Rio from the poorer Bahia region. Surrounding these central figures was a wider Bossa Nova family. It includes 'The Girl from Ipanema' lyricist Vinícius de Moraes, jazz pianist Sérgio Mendes and many others.

Sérgio Ricardo, Normando Santos, Tom Jobim, Ronaldo Bôscoli & Nara Leão

In 1957, Roberto Menecal, responsible for another great deed, took none other than João Gilberto, who he had just met, to Nara’s apartment. João was delighted with those meetings, but his style of singing was even more contained and reserved, which made the other musicians even more enchanted not only by him but by his music.

Nara , Menescal (guitar), Bebeto (flute) , Dori Caymmi and Chico Feitosa

The meetings were at Nara Leao’s apartment in the Copacabana district of Rio de Janeiro, where husky-voiced guitarists sang their potent melodies and those written by friends. In essence, the form took Brazilian samba and let the air out of the parade music's tires a bit, focusing less on energy and stamina and more on passion and seduction. Among Rio's original Bossa Nova singer- songwriters in the 1950s were Carlos Lyra and Antonio Carlos Jobim, along with the lyricists Ronaldo Bôscoli and Vinicius de Moraes. There were several meeting locations and one of them was the Copacabana Palace and the Golden Room, where local and international musicians used to mingle and play .

Canção do Amor Demais recorded by Elizeth Cardoso, materialized on vinyl the novelty.

The Bossa!

“Chega de Saudade” ( No more Nostalgia) is universally acknowledged as the song that launched both the Bossa Nova movement and João Gilberto’s career. It’s his signature piece. But João was not the first singer to record “Chega de Saudade”. That distinction belongs to Elizeth Cardoso, a highly respected singer’s singer who never sold vast quantities of records. “Chega de Saudade” was first recorded by Elizeth Cardoso in 1957 and released in April of 1958 on the album Canção Do Amor Demais; (Lots of love song) as a studio album by Columbia Studios in Rio de Janeiro, and released in May 1958 by the party seal “Festa”. With compositions by Vinicius de Moraes and Antônio The Tracks: Carlos Jobim and relying on the presence of João Gilberto playing guitar on two tracks, it is considered one of the initial landmarks of Bossa Nova. Chega de Saudade The LP “Canção Do Amor Demais;” went to market Serenata do Adeus As Praias Desertas and no one could have imagined it would have such a Caminho de Pedra long life, much less that of its 13 songs, 12, unprecedent- Luciana edly, were recorded, in Brazil and abroad, in English, Janelas Abertas French, Spanish and even Japanese. Nor was it antici- Eu Não Existo Sem Você pated that, on two of its tracks, would be the seeds of Outra Vez a real revolution: the Bossa Nova. And, that the artists Medo de Amar who recorded it would come to assert themselves as Estrada Branca eternal names in popular song, until the April of 1958, Vida Bela a stage of apparent stagnation. The recording came Modinha about because Tom Jobim and Vinicius de Moraes had Canção do Amor Demais the opportunity to make a limited-edition (2,000 copies), non-profit album of their songs in Performers credit: 1958. Nobody would be talking about it today but for the fact that João Gilberto’s guitar was present on two of its thirteen tracks; however, the public took little Elizete Cardoso - vocal notice of its release. While Elizeth Cardoso was Antonio Carlos Jobim - arrangements, direction, and piano learning the songs, João showed her how to delay and João Gilberto - guitar Irany Pinto - violin and conductor advance a chord’s rhythm the way he thought “Chega Nicolino Copia (Copinha) - flute de Saudade” should be sung, but Elizeth would have Gaúcho & Maciel - trombones none of it and let him know she could do without his Herbert - trumpet advice. She sang the song the conventional way. Only Vidal - bass João’s guitar hinted at what was to come. Juquinha - drums

A few months later, new versions of the song were Seven violins, two violas, and two cellos, unidentified J. Gilberto, A.C. Jobim, and Walter Santos - chorus on recorded, first by The Cariocas, through Columbia "Chega de Saudade Records and also by João Gilberto (see the next page) in a 78 revolutions released by Odeon in July which had, on the B side, the song “Bim Bom,” authored by the singer. The record was recorded in 1957 and released on July 10, 1958.

Side A Side B

João Gilberto re-record “Chega de Saudade” “Bim Bom” Music: Antônio Carlos Jobim Composer: João Gilberto Lyrics : Vinicius de Moraes

Hidden on Elizeth’s album, João was quickly "forced" to show his worth. “Chega de Saudade” explained every- In 1956, João Gilberto, then only 25 years of age, created thing. It is also a masterpiece, which was followed by what is considered to be the first Bossa Nova composi- two more, by 1961. Not happy with the results of the tion,“Bim-Bom”, released in 1958, spanning a mere first recording, João Gilberto included the second-ever “one minute and fifteen seconds,” it is immediately recorded version of the track that same year, and apparent the song was influenced by samba, a genre released it as a single. The song became a hit and would created several decades earlier. However, a closer listen solidify Bossa Nova as a permanent genre in the Latin reveals new musical characteristics. The pronounced percussion and almost nasally vocals, both key music. The song is universally acknowledged as the elements of Bossa Nova, overshadow other musical song that launched both the Bossa Nova movement and components of “Bim-Bom”. While “Bim-Bom” never João Gilberto’s career. It’s his signature piece. The new received critical acclaim, Gilberto’s new genre, Bossa record was recorded as Samba-Canção on July 10, 1958 Nova, gripped another demographic entirely. by Joao Gilberto but with his new guitar Rhythms - The New Beat, later named Bossa Nova.

“Chega de Saudade” “No More Nostalgia” “Bim Bom”

Music: Antônio Carlos Jobim Music: Antônio Carlos Jobim Composer, Vocal and Guitar: João Gilberto Lyrics : Vinicius de Moraes Lyrics : Vinicius de Moraes Vocal: & Guitar: João Gilberto Vocal: & Guitar: João Gilberto Bim bom bim bim bom bom Vai minha tristeza Go, my sadness Bim bom bim bim bom bim bom E diz a ela and tell her that Bim bom bim bim bom bom Que sem ela não pode ser without her it can't be Bim bom bim bim bom bim bim Diz-lhe numa prece Tell her in a prayer Que ela regresse To come back É só isso o meu baião Por que eu não posso mais sofrer because I can't suffer anymore E nao tem mais nada não Chega de saudade Enough missing her O meu coração pediu assim, só A realidade The reality É que sem ela não há paz is that without her there's no peace, Bim bom bim bim bom bom Não há beleza there's no beauty Bim bom bim bim bom bom É só tristeza It's only sadness Bim bom bim bim bom bom E a melancolia and melancholy Que não sai de mim That won't leave me, É só isso o meu baião Não sai de mim, não sai won't leave me, won't leave... E nao tem mais nada não Mas se ela voltar, se ela voltar But if she comes back, if she comes back Que coisa linda, que coisa louca What a beautiful thing, what a crazy thing Pois há menos peixinhos a nadar no mar For there are less fish swimming in the sea Do que os beijinhos Than the kisses I'll give you in your lips Que eu darei na sua boca Inside my arms Dentro dos meus braços the hugs Os abraços shall be ... Hão de…

Single by João Gilberto From Album Chega de Saudade

Side A Desafinado

Side B Hô-bá-lá-lá

Launched February of 1959

Format Disc 78 rpm

Recordered November 10, 1958

Genre Bossa Nova

Duração 01:58

Recording Company EMI-Odeon

Composers Antônio Carlos Jobim and Newton Mendonça

Producer Antônio Carlos Jobim

esafinado (Out of Tune) is a composer Tom Jobim and the poet displaced beat of the guitar and the Bossa Nova song composed by Vinícius de Moraes, who, in creating the contra-tempo percussion confused Antônio Carlos Jobim and Bossa Nova, would irreversibly alter the musicians, provoking general disorienta- Newton Mendonça and recorded course of our popular music. With only tion. So much novelty presented in a sin- Dby João Gilberto on November 10, 1958, at Tom and Vinicius would we certainly have gle composition would inevitably lead to Odeon studios in Rio de Janeiro. The song a modern, sophisticated, renovating success, which would extend abroad. In would be released in February 1959 as a music, but that would not be what was the United States, for example, the single by the EMI-Odeon label and included called Bossa Nova. "Desafinado" single, with Stan Getz and in the debut album, “Chega de Charlie Byrd, recorded in 1962, surpassed The melody of "Desafinado" is quite Saudade” (No More Nostalgia), released in the 1 million copy mark and received the "contorted" ("It was even more so in the the second week of March of that year. It is Grammy Award for Best Jazz Perfor- original conception, João is the one who considered one of the seminal songs of mance. The phonogram was extracted altered something at the time of recording," the musical style and one of the best from the album Jazz Samba, which informs Tom Jobim) mainly because of an define the genre. The song is a response to remained on the American Hit-Parade for ingenious change in the fifth and sixth the critique at the time, which considered 70 weeks and also surpassed the 1 million degrees of the scale in the initial sentence Bossa Nova as "music for off key singers." copy mark. This recording is considered (“Se você disser que eu desafino, amor”) the initial marker of Bossa Nova in the Sounding like the strangest thing that ever that falls on the syllable "de" (in " de-sa- United States. appeared until then in Brazilian music, the fino "),"a"and "mor" (in “amor"). By sus- first recording of "Desafinado" demon- taining the dominant and softening the The song was subsequently recorded by strated everything innovative and revolu- super dominant, unusual melodic inter- several artists, including Antônio Carlos tionary that Bossa Nova offered: the inti- vals were produced as a pattern for the Jobim, Herb Alpert, Nara Leão, Ella mate corner, the synthetic lyrics, stripped Brazilian music of the time, to the point of Fitzgerald and Stan Getz who, in 1963, down, the use of altered chords and, hindering the interpretation of some less won the Grammy for best Jazz Perfor- above all, extraordinary rhythmic play gifted singers. Locating this change on the mance by a soloist or small group for the between the guitar, the drums and the word "desafinado", the authors created song. Two adaptations of the song for the voice of the singer. Responsible for this the impression that the singer was only a English language were performed: rhythmic game, its interpreter, João little out of tune, which led many people "Slightly Out of Tune ", by Jon Hendricks Gilberto, immediately assumed a promi- to believe that João Gilberto was an off and "Off Key ", by Gene Lees. The song nent role in the trio — completed by pitch singer. At the same time, the appears in Showtime's show, Dexter, in its 8th season.

oão Gilberto's debut LP, 1959's “Chega de

Saudade” (No More Nostalgia), was one of the most Track list: “Chega de Saudade” ("Enough Longing") J important Bossa Nova recordings, and credited by many as the album that, more than any other, launched Side A Bossa Nova as a major popular music genre. It became a classic that changed Brazilian music and achieved great 1 - "Chega de Saudade" (Antônio Carlos Jobim, Vinicius de Moraes) 2 - "Lobo Bobo" (Carlos Lyra, Ronaldo Bôscoli) success in the United States. 3 - "Brigas, Nunca Mais" (Antônio Carlos Jobim, Vinicius de Moraes) 4 - "Hó-Bá-Lá-Lá" (João Gilberto) The dozen songs add up to a surprisingly short playing 5 - "Saudade Fez um Samba" (Carlos Lyra, Ronaldo Bôscoli) time of about 23 minutes, but introduce several of Bossa 6 - "Maria Ninguém" (Carlos Lyra)

Nova's most beloved trademarks: breezy, soothing melo- Side B dies and vocals; tight arrangements with seamless blends of clipped guitar strokes and light orchestration, 7 - "Desafinado" (Newton Mendonça, Antônio Carlos Jobim) and, of course, the Bossa Nova rhythm. The most popular 8 - "Rosa Morena" (Dorival Caymmi) of these songs ("Chega de Saudade" and "Desafinado") 9 - "Morena Boca de Ouro" (Ary Barroso) 10 - "Bim-Bom" (João Gilberto) ( had already been released as singles in 1958, but though 11 - "Aos Pés da Cruz" (Marino Pinto, Zé da Zilda) they might be the most memorable tracks, the album 12 - "É Luxo Só" (Ary Barroso, Luiz Peixoto) maintains a consistently high standard (if a fairly similar mood throughout). Gravadora: Odeon Produção: Aloísio de Oliveira Duration: 22min 37s “Desafinado”, a fine ironic take on the criticisms that João Gilberto received for not being a great singer like João Gilberto: guitar, vocal, and arrangements those which arose in the previous decade. João Gilberto’s second track on the LP, “Bim-Bom”, is another simple but Special guests: harmonically rich composition that enriches the lyrics in Tom Jobim: arrangements many ways. Copinha: flute Maciel: trombone Although it is not a recording that may appeal to many Milton Banana: drums Guarany: caixeta people immediately, it is nevertheless a fundamental Juquinha: triangulo album for understanding an important moment in Rubens Bassini: bongô Brazilian music, the 1950s. João Gilberto was eventually Milton. Acyr e Edgardo: vocal and backup recognized worldwide for his pioneering work in creating a new style that changed the course of Brazilian music and the music industry in Brazil and abroad. Another movement as strong as Bossa Nova would only appear in Listen: the middle of the following decade with Jovem Guarda. Until then, Bossa Nova and João Gilberto would reign https://www.youtube.com/watch?v=yfy2ggYnxsk absolute.

Israeli-Brazilian College

João Gilberto/Guitar

“A Noite do Amor, do Sorriso e da Flor” The Night of Love, Smile and Flower!

The first Brazilian musical movement came from the universities, since the first concerts were focused on students, little by little what would become Bossa Nova was occupying bars in the Copacabana circuit, called Beco das Garrafas (Bottle’s Bar). At the end of 1957, at one of these performances at the Israeli- Brazilian College, there would be the idea of calling the new genre Bossa Nova, then only called samba sessions, in an allusion to the fusion between samba and jazz - due to a message probably written by a secretary of the college on a black- board, calling people to a samba-session performance by a "Bossa-Nova" group. The event was attended by Carlos Lyra, Ronaldo Boscoli, Sylvia Telles, Roberto Menescal and Luiz Eça, and many others, where they were announced as a " Bossa Nova Group” featuring modern sambas.

Musicians who performed at Bottles Bar

Bottles Bar (Beco das Garrafas) is a space, located in the Copacabana district in the city of Rio de Janeiro between 21 and 37 Duvivier Street, which includes a series of bars and nightclubs that were fundamental for the emergence and strengthening of the Bossa Nova musical style. The story that matters is that in the early 1960s, three nightclubs exploded in Beco: Little Club, Baccarat (which remains to this day) and Bottle's (reopened in February 2010). come to Rio de Janeiro to sing. She In spite of all the success and importance walked from the traditional Copacabana at the time, Beco das Garrafas closed Beco das Garrafas was, with all certainty Palace Hotel, barefoot, to Beco to find after 40 years. In 2014, cultural producer the best music that people could hear at herself in the Bottle's Bar with Ronaldo Amanda Bravo,successfully, decided to the time. People like Lennie Dale, Tom Bôscoli, Miele and Menescal, and every- reopen the space and with the help of Jobim, Johnny Alf, Baden Powell, Durval one on her first great album, where she other people. Today, Beco das Garrafas, Ferreira, Paulo Moura, Carlos Lyra, launched “O Barquinho”. is at the same location as in the 1960’s Sergio Mendes, Luiz Eça, Luís Carlos and hosts a constant flow of concerts for Vinhas, Dom Salvador, Tenório Jr., Raul The arrival of Bossa Nova was the begin- new and well-known artists of our de Souza, J.T. Meireles, o maestro Cipó, ning of a great movement in Rio de music. For the sake of art, its doors have Edu Lobo, Chico Feitosa (Fim de Noite), Janeiro. The nightclubs at the time only reopened. Roberto Menescal, Miele, Maurício played modern songs, and the Beco das Einhorn, Rildo Hora, Tião Neto, Manuel Garrafas’ reputation is due to the fact Sources Book: Alma Mía, Leny Andrade. Gusmão, Bebeto Castilho, Dom Um that the nightclubs there gave opportu- Regina Ribas (2012). Rio de Janeiro, Romão, Edison Machado, Airto Moreira, nity to the avant-garde, they created Brazil. Wilson das Neves, Chico Batera, Vítor songs different from everything that Manga, Hélcio Milito, Sylvinha Telles, existed, much more advanced. When the Site:https://diariodorio.com/historia-do Dolores Duran, Nara Leão, Marly Tava- activity ended at Beco, almost everyone -beco-das-garrafas/ res, Betty Faria, Vanda Sá, Marisa Gata went to Fiorentina for dinner. The res- Mansa, Dóris Monteiro, Claudette taurant was open until very late because Soares, Alaíde Costa, Elis Regina e the artists used to arrive when they Maysa Matarazzo, who decided to leave finished work and the fans went her traditional family in São Paulo to followed.

Tom Jobim, An Encounter - O Encontro Vinicius de Moraes, Joao Gilberto, Os Cariocas, and The history-making show Milton Banana

August 2, 1962 –at Au Bon Gourmet

The historic pop-up show, an encounter that debuted the “The Girl from Ipanema”

Fifty six years ago the song “Garota de João Gilberto, who makes a specialty of it up. It’s now time for Vinicius to show Ipanema “ (The Girl from Ipanema) was both the old samba and new. The ele- off his new work with Baden Powell, and performed for the first time in public . gant audience, whose ranks are filled here is the debut recording of what will This was not registered and acknowl- with Rio’s chic society and artistic cir- become his signature piece, “Samba da edged at that time, but a recording was cles, dines on French cuisine and listens Bênção” (Samba of the Blessing). The made and in March of 2015, a vinyl LP attentively, applauding and at times movie “Un Homme e une Femme” is still was released. ( see next page) . yelling encouragements. Accompanied several years away. That long list of by Otávio Bailly on bass and Milton blessed names is fresh: João Gilberto Show review by Daniella Thompson : Banana on drums, the seven men on returns with “Amor em Paz” (Love and stage unroll a string of, yes, mostly Peace) recorded the previous year on Imagine yourself in the summer of 1962, unknown songs. Os Cariocas warm up “João Gilberto”. The crystalline voice is in Copacabana, Brazil. You have never the audience with a rousing rendition of complemented by the vocal group in a heard most of these songs. On stage is The brand-new “Só Danço Samba,” short and lyrical interlude, Now comes a Antonio Carlos Jobim, Vinicius de ( I only dance Samba) which Tom complete unknown, marked on the Moraes, Os Cariocas, João Gilberto, and augments with his voice and piano. album cover only as “Bossa Nova e Milton Banana on drums. This was Vinicius’ Bossa Velha” by Os Cariocas. No author first time as a performer; until now it had The message is clear: take away foreign is indicated, but I’m told by João Samuel been considered unseemly for a diplo- rhythms—I’m going back to my samba that Miguel Gustavo wrote both music mat to sing in a nightclub. Both Tom and roots. and lyrics. Vinicius sit behind the piano, oversized whiskey glasses before them. This is a “Samba de uma Nota Só” ( One Samba An old-fashioned, bombastic voice inter- good start, but it needs professional Note ) is more familiar; João Gilberto poses: voices. The venue is the restaurant had already recorded it on his second The audience laps it up. But there’s more Au Bon Gourmet on Avenida Nossa LP, “O Amor, o Sorriso e a Flor”. Tom in store. Tom introduces a song he just Senhora de Copacabana, Rio de takes it away, with Os Cariocas humming completed: “Samba do Avião.” Os Cario- Janieiro. Aloysio de Oliveira is on stage harmony: The group steps in for the cas alternate with him in the second with Antonio Carlos Jobim and Vinicius refrain and the second verse, changes round: Prolonged applause. Cut. The de Moraes, whose songwriting partner- tempo and rhythms, heaps in falsettos, piano begins playing, and a voice from ship is already at its end (Vinicius has and finishes off the song on an extended the audience calls: “Tom, muito bonito, taken up with young Baden Powell de note. João Gilberto now launches into hein!” Was he referring to “Samba do Aquino). The stage is tiny and “ Corcovado ” (also from “O Amor, o Avião”? Now Vinicius shows that he can unadorned, but Aloysio claims it is full. Sorriso e a Flor”). He is the one responsi- carry a melodic line and sings his new ble for the first line of the lyrics being as collaboration with Baden, “O Astronauta.” He brings in the vocal quartet, Os Cariocas, enchanting as it is; Jobim had originally Os Cariocas hum behind Vinicius, a link between the old sambas that his written “Um cigarro, um violão”. The providing the decisive “Pah!” after the own group, Bando da Lua, used to sing interpretation is vintage João, with the line “Sim, você é linda porque é” and with and the new sambas that Tom and added attraction of Os Cariocas crooning concluding with the requisite babadabada. Vinicius compose. Front and center sits quietly on the repetition. The crowd laps

João Gilberto comes in with two songs from his most recent, eponymous album. First Dorival Caymmi’s “Samba da Minha Terra” (1940), originally recorded by Aloysio’s Bando da Lua. Here we have voice, guitar, and Tom’s occasional piano: He follows it with “Insensatez” (Folly) just voice and guitar:

And now comes the evening’s set piece: a shiny new song called “Garota de Ipanema” . This isn’t the first version written. That one was called “Menina Que Passa” and opened thus: Fortu- nately for all of us, both songwriters found it .l

Vinicius did much better the second time around. For its public debut at the Bon Gourmet, Tom, Vinicius, and João wrote a special sung introduction.

João Gilberto (in sweet voice):“Tom and if you did a song now?”

The rest, as they say, is history. Not so quick, though. Os Cario- cas break in on the same track with Haroldo Barbosa and Luiz Reis’ “Devagar com a Louça,” which sounds like an old song but in fact is newly minted in the year 1962. These back-to-back tunes are the perfect expression of Bossa Nova versus Bossa Velha.

We could all go home now (or play the disc again from the beginning), but not before the final medley of “Garota de Ipane- ma,” “Só Danço Samba,” and “Se Todos Fossem Iguais a Você,” which sums up the six-year partnership of Tom and Vinicius between Orfeu da Conceição and this night of August 1962.

Tracks:

01. Só Danço Samba (Antonio Carlos Jobim/Vinicius de Moraes) Os Cariocas 02. Samba de uma Nota Só (Antonio Carlos Jobim/Newton Mendonça) Tom Jobim & Os Cariocas 03. Corcovado (Antonio Carlos Jobim) João Gilberto & Os Cariocas 04. Samba da Bênção (Baden Powell/Vinicius de Moraes) Vinicius de Moraes 05. Amor em Paz (Antonio Carlos Jobim/Vinicius de Moraes) João Gilberto & Os Cariocas 06. Bossa Nova e Bossa Velha (Miguel Gustavo) Os Cariocas 07. Samba do Avião (Antonio Carlos Jobim) Tom Jobim & Os Cariocas 08. O Astronauta (Baden Powell/Vinicius de Moraes) Vinicius de Moraes & Os Cariocas 09. Samba da Minha Terra (Dorival Caymmi) João Gilberto 10. Insensatez (Antonio Carlos Jobim/Vinicius de Moraes) João Gilberto 11. Garota de Ipanema (Antonio Carlos Jobim/Vinicius de Moraes) João, Tom & Vinicius Devagar com a Louça (Haroldo Barbosa/Luiz Reis) Os Cariocas 12. Só Danço Samba (Antonio Carlos Jobim/Vinicius de Moraes) João Gilberto & Os Cariocas 13. Garota de Ipanema; Só Danço Samba; Se Todos Fossem Iguais a Você (Antonio Carlos Jobim/Vinicius de Moraes)

—Do not forget to check the Daniella Thompson review, full of additional details: http://web.archive.org/web/20070922021855/http:// daniellathompson.com/Texts/Reviews/Bon_Gourmet.htm Source: https://www.youtube.com/watch?v=LzcpCN-eCCs

"The Girl from Ipanema" (Garota de Ipanema) won a Grammy for Record of the Year in 1965.

B ossa Nova was marked, for the called Tom Bar), where "the most beauti- most part, by a colloquial tone, everyday ful thing, full of grace," then a 19 year old themes and a lower voice, permeated by student used to pass every day. samba harmonies and melodic jazz inven- tions. Thus, one of the most remarkable The identity of this muse was a mystery Bossa Nova songs that became known that aroused speculation. For some, it worldwide is "Garota de Ipanema” (The was Marina Colasanti. For others, Duda Girl from Ipanema), composed by Cavalcanti; and for others, yet some Vinícius de Moraes and Antônio Carlos other girl. But the mystery was solved in Jobim in 1962. The song’s story is true, 1965 when Manchete magazine published inspired by the Brazilian model Helô a photo of Heloísa Eneida Menezes Paes Pinheiro, the beautiful girl that passed by Pinto, afterwards known as Helô Pinhei- the outskirts of Ipanema beach in Rio de ro, confirming that she was the true Janeiro. Ipanema Girl. The publication did not eliminate the gossip. Many people said In Tupi-Guarani, Ipanema means bad that it was a fake news written by water. Stinky, worthless, the worthless Ronaldo Bôscoli, to win the girl’s affec- Her name is Heloísa Eneida Menezes river, or bad for fishing, which absolutely tion. In any case, Vinicius confirmed Paes Pinto, but everyone calls her Helô. did not coincide with reality at the time Boscoli’s version in an article for Manchete the song was composed. The name of the magazine. ment, the samba that put it in the neighborhood came from the Baron of headlines of the whole world and made Ipanema, considered the founder of the For three years she walked by, there at our beloved Ipanema a magical word for Ipanema Town in 1984. Like the beach, the intersection of Montenegro and the foreign listeners. It was and is for us the song also has a lot of history. Prudente de Morais, on the way to the the paradigm of the young Carioca, but beach, and we were delighted. From our for whose vision and also sadness, car- The song “The Girl from Ipanema” and Veloso observation post, drinking our ries with her towards the sea, the feeling others such as, “Só Danço Samba” beer, Tom and my jaws dropped seeing of passing youth, the beauty that is not ( I Only Dance Samba), and “Samba do the natural beauty passing by. only ours - it is a gift of life, in its beautiful Avião” (Airplane Samba), were composed melancholic flow and constant back by Tom and Vinicius to be part of a musi- The air was more volatile so as to facili- flow. cal that Abraham Medina intended to tate the divine balance of her walk. And produce in Rio de Janeiro in 1961, enti- there she was all beautiful, the girl from The first public presentation of the song tled “Blimp”, but that musical never Ipanema, developing a path of spatial united, for the only time on the same happened. When Tom went back to work geometry of her almost samba-like stage, the three great names of Bossa on the song, Tom tried, but couldn't find balance, and whose formula would have Nova: Tom, Vinicius and João Gilberto, the lyrics. The inspiration for the final escaped even Einstein himself; It would accompanied by the vocal ensemble The version would come in an afternoon take a Antonio Carlos Jobim to ask the Cariocas. It happened on August 2, 1962, when the duo went to Veloso bar to have piano, in great and religious intimacy, on the show Encontro, directed by Aloysio a beer (now, Girl from Ipanema, a name the revelation of its secret. For him we de Oliveira, in the restaurant Bon Gour- that Tom never adopted and satirically did it, with all respect and silent enchant- met, Rio de Janeiro.

The statue created by artist Christina Motta, was designed by the City Hall of Rio to celebrate the 20th anniversary of the death of the great maestro. The statue is located in Arpoador, one of Tom Jobim’s favorite places in Rio de Janeiro.

The Girl From Ipanema” (Antonio Carlos Jobim and Vinicius de Moraes) went on to become the second-most recorded popular song in history, behind “Yesterday. Tom Jobim immortalized with his song is now on the edge of Ipanema Beach.

Ronaldo Boscoli (1928-1994) Composer, songwriter, record producer and journalist.

An important figure of the Bossa Nova movement.

Boscoli organized the first Samba Session in 1959 at the Israeli-Brazilian College introducing for the first time ever the Bossa Nova Group. Since he did not know how to explain Bossa Nova at the time, he said:

"Philosophically, Bossa Nova is a state of mind." And it is until today!

omposer of Bossa Nova classics like "Lobo with Tom Jobim, was the one who introduced Bobo" and "Saudade Fez Um Samba" (with Jobim to his brother-in-law when de Moraes C Carlos Lyra), Ronaldo Bôscoli was a promi- needed a composer for the historic play Orfeu nent figure of the movement, serving as a coor- (fundamental for the history of Bossa Nova). In dinator and producer as well. His work was also 1959, with Miéle, Bôscoli gave birth to a series of recorded by João Gilberto on his CD, “Chega de performances that became known as "pocket- Saudade” (1959), which included "O Bar- shows" (in contrast to the big orchestral gigs in quinho,"and "Telefone," and "Vagamente," (with the luxury casinos prior to the prohibition of gam- Roberto Menescal), "Balançamba." As an experi- bling in the 1940s). Taking place in the nightclubs enced journalist, he helped promote shows that in Beco das Garrafas (Rio), the shows presented first brought the new sound to a major audience. Sérgio Mendes, Nara Leão, Sívia Telles, Elis Regi- Bôscoli had quite a handful of illustrious artists in na, and other artists who would become famous. his genealogical tree: his great-grand aunt was His first recorded song was "Senate" (with Chico none other than Chiquinha Gonzaga; he was also Feitosa). Bôscoli produced shows for Joan Craw- a nephew of Jardel Bôscoli and Geysa Bôscoli, ford and Sarah Vaughan (in 1967 and 1971, re- and a cousin to Héber de Bôscoli and Jardel Filho. spectively), along with several other shows by His professional debut was as a journalist at the Brazilian artists. He also directed Elis Regina's TV Diário da Noite paper in 1951. That same year, he show “O Fino da Bossa” and was married to her went to work as a reporter at the Última Hora from 1967 to 1972. With Miéle, Bôscoli produced paper, where he also worked with Vinícius de shows for major acts like Roberto Carlos for 24 Moraes (who would marry his sister Lila soon years. afterwards). Bôscoli, who was already acquainted

Source: https://www.allmusic.com/artist/ronaldo-bôscoli-mn0000284123

Felix Grant (1918–1993) The Bossa Nova Project

THE FIRST CITIZEN OF BRAZILIAN MUSIC IN THE US THE MAN WHO BROUGHT BOSSA NOVA TO WASHINGTON, D.C.

or nearly fifty years, the local tion of Brazilian and Jamaican cul- F radio broadcaster Felix Grant was ture in the United States. He was a familiar voice to Washington, D.C. playing the music and introducing jazz lovers. He began his career in these new sounds to American audi- 1945 on radio station WWDC-AM and ences long before they became in 1953 he moved to WMAL-AM, household words. His honors includ- where he spent thirty years as host ed Brazil’s highest award to a and producer of The Album Sound. foreigner, the Order of the Southern The program featured the full spec- Cross; recognition from the Wash- trum of jazz and blues with an inter- ington, D.C. government, including national flavor and had one of the plaques, proclamations, and the widest listening audiences in the designation of Felix Grant Day in Washington, D.C. area. Grant’s early 1985; and a music-radio library interest in and fascination with named after him at the University of Brazilian culture and music played a Jamaica. His trademark broadcast pivotal role in introducing Bossa professionalism and his love for the Nova to the United States. He was music and musicians who created it often dubbed an ambassador of earned him respect and recognition music in recognition of his promo- both at home and abroad.

On September 10, 2014 an exhibition on “Bringing Bossa Nova to the United States” was presented by the Felix E. Grant Jazz Archives, Learning Resources Division at University of the District of Columbia. The exhibition included photographs; concert programs; correspondence; awards; unique interviews of prominent artists such as João Gilberto, Leny Andrade, Sergio Mendes and Dorival Caymmi; and a digital collection, the Bossa Nova Project, which forms the basis for exhibits that may be accessed online. Together they provide a glimpse into Brazilian music of this period and its explosive impact on the American jazz scene. The exhibition bringing Bossa Nova to the United States returns to the Felix E. Grant Jazz Archives after its debut as part of the critically acclaimed Jazz Samba Project at Strathmore.

Source: http://bossanovaproject.us/Mini-Exhibits/exhibits/04.html

The Bossa Nova Craze in DC.-1962

The guitarist Charlie Byrd received an Probably around 1960, he met Brazilian two drummers turned out to be a master- invitation from the U.S. State Department DJ Paulo Santos, who was visiting Wash- stroke. As Gelly observed, "each could to do a fourteen-week tour of Latin America ington, through the Pan American Union, play a simple pattern , the two patterns at the beginning of 1961. His visit was part and invited Santos onto his program to combining to create a shifting, shimmer- of a cultural exchange tour sponsored by play some early Bossa Nova records by ing beat." Though Getz was pleased with the U.S. State Department, there he heard guitarist João Gilberto. Byrd himself the result, he never figured that it would Brazilian musicians' experimental jazz- described Grant as the man "who intro- become such a commercial breakthrough. samba fusion, and liked it so much that he duced the Bossa Nova ." brought tapes of the music back home "I thought it was just pretty music," he later explained. "I never thought it would with him. He returned to DC. convinced As recounted by Getz biographer, Dave that, among all he heard, the Brazilians be a hit." But it was. Gelly, in December 1961, Byrd went to see had something really new, the Bossa a performance by Getz at a Washington, Nova. Byrd began playing in this style with Unfortunately, Byrd was deprived of a DC club, and visited him backstage. Byrd share of the Grammy for "Desafinado" his trio in a Washington DC bar, the Show- played the Brazilian tapes for Getz, who Boat, and struggled to record Bossa Nova, because his solo was cut from the single then convinced Verve to let them make an version. And the record's success led to a which would only happen many months LP of Brazilian-influenced music. In prepa- later, when the tenor sax Stan Getz financial dispute, in which Byrd ended up accepted his invitation to record a Brazilian ration, Byrd put together and rehearsed a suing Getz and the record company over music record. rhythm section, made up of musicians royalties, and settled for $50,000. who'd been on the Brazil tour, including The record was Jazz Samba, an LP by his bassist brother Gene (later known as After the bossa nova craze subsided, Byrd saxophonist Stan Getz and local guitarist Joe) Byrd, and drummers Buddy continued to perform in the Washington Charlie Byrd. The LP “Jazz Samba” was Deppenschmidt and Bill Reichenbach. area and elsewhere over the next several recorded on February 13, 1962, released in decades, including a show in his April, and one of the tracks, "Desafinado", In February 1962, Getz and jazz producer hometown of Annapolis just two months experienced success on the radio, the Creed Taylor flew down from New York to before his death in 1999 at age 74. results of the two American percussionists begin the session. According to Richards' trying to imitate Brazilian record record- article, Getz often liked to record at the ings were unimpressive. Additionally, Morris Cafritz Center on 16th Street N.W., Getz's solos, impregnated with a jazz line, but traffic noise that day prompted him to were miles away from the Brazilian choose an alternate location. Gelly tells it melodic fluency. Such imperfections to slightly differently; he reports that Byrd In a 2012 retrospective, Washington Brazilian ears were not logically perceived took Getz to a hall attached to the All by the Americans nor prevented Stan Getz Post music writer, Chris Richards Souls Unitarian Church at Harvard and observed that the record's success and Charlie Byrd from beginning a 16th, because it supposedly had the best process, by donating themselves as musi- caused Frank Sinatra and Elvis Presley, cians, of introducing Bossa Nova to the acoustics available in the District. among others, to begin Experimenting United States. After being released on the with Brazilian music. "Bossa Nova’s Verve label in April 1962, it became the Amazingly, the ensemble took just three pliant melodies and hushed rhythms first jazz album to top the Billboard 100 hours to record Jazz Samba's seven expanded America’s notions of global chart, and sold 1.6 million copies over the tracks, getting down all but one in a single pop music moments before Motown and next five years. One track, "Desafinado," take, and working so fast and fluidly that the Beatles roared," he observed. The won a Grammy for Getz for best jazz solo Getz and Taylor were able to get back to record became such a sensation that performance. According to a 1962 United New York in time for dinner. Byrd's clever Billboard soon asked in a headline: Press International article, local jazz DJ rhythm arrangement meshed defty with "Is the Bossa Nova the New Twist?" Felix Grant began playing Brazilian rec- Getz's solo on the opening cut, ords on his WMAL show in the late 1950s. "Desafinado," and Byrd's idea of using

Tracks: 1- "The Girl from Ipanema" Antônio Carlos Jobim, Vinicius etz/Gilberto is an album by American The album was also a commercial success, de Moraes, and Norman Gimbel G saxophonist Stan Getz and Brazilian selling more than 2 million copies in 1964. It guitarist João Gilberto, featuring pianist and was later featured in Rolling Stone's and 2 - "Doralice" composer Antônio Carlos Jobim (Tom Jobim), Vibe's lists of best albums of all time. Getz/ who also composed many of the tracks. It was Gilberto was widely acclaimed by music crit- Antônio Almeida and Dorival Caymmi released in March 1964 on Verve Records. ics, who praised Gilberto's vocals and the album's bossa nova groove and minimalism. 3 - "Para Machucar Meu Coração" The album features the vocals of Astrud Gilberto on Getz/Gilberto received Grammy Awards for two tracks, “The Girl from Ipanema” (Garota Best Jazz Instrumental Album, Individual or Ary Barroso de Ipanema) Desafinado", and "Corcovado". Group and Best Engineered Recording - The artwork was done by artist Olga Albizu. Non-Classical; it also became the first 4 - "Desafinado" Getz/Gilberto is a jazz and bossa nova album, non-American album to win one for Album of and includes tracks such as ""Corcovado", the Year, in 1965. Tom Jobim and Newton Mendonça and "Garota de Ipanema". It won the 1965 Grammy Awards for Best 5 - "Corcovado (Quiet Nights of Quiet The latter received a Grammy Award for Rec- Album of the Year, Best Jazz Instrumental ord of the Year, and launched Astrud Gilberto Album, Individual or Group and Best Engi- Stars)": Tom Jobim to international stardom. "Doralice" and neered Recording - Non-Classical. "Para Machucar Meu Coração" strengthened 6 - "Só Danço Samba" Gilberto's and Jobim's respect for the tradi- "The Girl from Ipanema" also won the award tion of pre-bossa nova samba. Getz/Gilberto for Record of the Year in 1965. This was the Tom Jobim and Vinicius de Moraes is considered the record that popularized first time a jazz album received Album of the bossa nova worldwide, and was one of the Year. It was the only jazz album to win the 7 - "O Grande Amor" best-selling jazz albums of all time. award until Herbie Hancock's River: The Joni Letters 43 years later, in 2008. Tom Jobim and Vinicius de Moraes 8 - "Vivo Sonhando" Tom Jobim

Source: https://en.wikipedia.org/wiki/Getz/Gilberto

Creed Taylor The Bossa Nova Producer

in USA - 1964

THE FIRST PRODUCER

OF BOSSA NOVA IN THE US

Creed Taylor (born May 13, 1929) is an American record the name of Creed Taylor played a big part in his success producer, best known for his work with CTI Records, at critical points. The 1970’s Stone Flower was the which he founded in 1968. His career also included apogee of their long collaboration together. It’s a rich periods at Bethlehem Records, ABC-Paramount testament to their achievements, striving in tandem for (including their jazz label, Impulse!), Verve, and A&M the lazy perfection, brothers in arms. Records. In the 1960s, he signed Bossa Nova artists from Brazil to record in the US, such as Antonio Carlos Jobim, In 1961, after a trip to Brazil, he persuaded Jobim to Eumir Deodato, João and Astrud Gilberto, among others. come to New York and there he set about shaping a new sound that would spark a nation’s love for Bossa Nova, a Taylor wasn’t typical of the moneyed types that populat- smooth intertwining of samba and jazz. Creed produced ed the upper echelons of the booming American record the Getz/Gilberto record which Jobim orchestrated in 1963. industry of the 1950s and 1960s. He grew up in Bedford, Virginia, surrounded by country and bluegrass music. His This collaboration blew up like fireworks across the US, passion for sound stretched in all directions. winning a Grammy and garnering the admiration of all the greats including Frank Sinatra, who quickly wanted in Taylor has won numerous Grammy Awards for his on the craze and recorded an album with Jobim in 1967 decades of production work. These include awards for: under the name Francis Albert, a nod to the sophistica- Focus (Stan Getz, 1961), “Desafinado” (Stan Getz/Charlie tion of their endeavour. Byrd, 1962), “Conversations with Myself” (Bill Evans, 1963), “The Girl from Ipanema” (Stan Getz/Joao Gilberto, 1964), “Willow Weep for Me” (Wes Montgomery, 1969), and “First Light” (Freddie Hubbard, 1972).

To virtually all Americans, the words "Bossa Nova" are synonymous with Brazilian jazz. More specifically, they immediately trigger memories of Bossa Nova's greatest American hit, "The Girl From Ipanema." When Creed Taylor introduced Astrud Gilberto's version of the song to American audiences in 1964, he had no idea what kind of lasting impact it would have. He had no idea that Getz/ Gilberto would come to define Brazilian music for American audiences. Forever. Talent doesn’t always take you straight to the top like an elevator. Sometimes even the exceptional artists need a little guidance about where to Stan Getz, Tom Jobim, Creed Taylor, João Gilberto and Astrud Gilberto by Branca Dias alight and when. Timing is a critical skill both inside and outside the studio. Sources: https://en.wikipedia.org/wiki/Creed_Taylor0 The Brazilian master Antonio Carlos Jobim left an indeli- https://www.irishtimes.com/culture/music/the-original-boss-the- ble mark on music but an American record producer by man-who-brought-bossa-nova-to-the-masses-1.3252510

“The forest of microphones did not allow the Bossa Goes Internationally audience to see the artists.”

A reaction to the concert from the legendary New York Times jazz Carnegie Hall Concert critic John S. Wilson was mixed. He grumbled about the "forest of microphones," the amplification which "reduced the Brazilian instrumental groups to a monotonous mush," and most of the November 21, 1962 at 8:30pm singers who "had little to offer." Gilberto ("several notches above this") and Bonfá (who made "a positive impression") escaped criticism. New Yorker magazine criticized, with a story titled Bossa Nova was internationally established in 1962, "Bossa Go Home". But the fact is that the house production, without intimate knowledge of the genre, placed too many micro- in a historic concert at Carnegie Hall in New York, phones scattered around the stage, 11 in total. With its sparse instrumentation and vocation for timid performers, Bossa Nova entitled “ Bossa Nova” the new Brazilian Jazz. suffered with excessive reverberation. Normando Santos sang with the microphone off. But there were two moments that unani- mously enchanted; Tom, with “Samba de uma nota só” (Samba of On the night of November 21, 1962, a rainy Wednesday in New a single note) and João Gilberto, who waited in absolute silence to York City, Bossa Nova experienced one of the most important sing “Samba da minha terra” (Samba from my land). chapters of its existence. It would change the course of its history and its leading figures. In the audience, of over 3000 people, were Sidney Frey produced the LP, Bossa Nova at Carnegie Hall, and some names from the first string of Jazz: the singer Tony Bennett, film clips from the concert were included in a CBS Eyewitness the trumpeters Dizzy Gillespie and Miles Davis, the saxophonists News show, “The New Beat” that was broadcast five weeks later. Gerry Mulligan and Cannonball Adderley, the flutist Herbie Mann, the Modern Jazz Quartet. And many of them have even been A follow-up concert—reportedly in reaction to poor amplification welcoming the team of Brazilian musicians at the airport when at the original concert—was arranged several weeks later at the they arrive on American soil. With deference to the Brazilians, days Village Gate in Greenwich Village where many of the same musi- later the American musicians were able to drink directly from the cians performed. The Carnegie Hall concert was important in source of the rhythm and the contagious spice of the Bossa Nova. promoting Bossa Nova both in the United States and Brazil. And the great proof that Bossa Nova influenced Jazz and vice It launched professional collaborations between Brazilian and versa. United States’ artists and resulted in recording contracts for many of the Brazilian musicians. The concert was organized by the president and owner of Audio- Fidelity Records, Sidney Frey, along with Show magazine, present- At the end of the Carnegie Hall show, it was also practically the ed a landmark Bossa Nova concert at New York’s Carnegie Hall end of Bossa Nova Moviment, except for the fact that some of the with support of the Itamaraty. Frey flew to Rio in September and most forceful musicians had been given the movement and decid- invited the Bossa Nova hierarchy, including João Gilberto, Antônio ed to stay in the United States, like Oscar Castro-Neves, Sérgio Carlos Jobim, Luiz Bonfá, Sérgio Mendes, Roberto Menescal, Mendes, Jobim, and João Gilberto went to Mexico. And because of Milton Banana, Oscar Castro-Neves, Carlos Lyra, Normando that, the Bossa Nova group fell apart and each one followed their Santos, and many other artists, some unknown and not supported musical trajectory. The famous meetings that took place in the of Bossa Nova Movement. They performed alongside jazz musi- city of Rio de Janeiro in the houses of Nara Leão, Tom Jobim and cians such as Stan Getz, Charlie Byrd, Lalo Schifrin, and Gary others, did not happen anymore. Bossa Nova from that moment McFarland in what turned out to be a historic event despite many on belonged to the world music. production and programming problems. The concert was sold-out and more than 1,000 disappointed people were turned away. In addition to presenting the new sound to North America and to the world, the concert also gave birth to the iconic Getz/Gilberto ensemble—that included Jobim and Miltinho Banana from the night's lineup—whose debut release took Bossa Nova to an even higher level of international recognition when released in 1964.

The repertoire brought some pearls like “Samba de Uma Nota So” (One Note Samba) with Sérgio Mendes's Sextet, “Influência do Jazz” (Influence of Jazz) with Oscar Castro Neves’ Quartet, “Manha de Carnaval” (Carnival Morning) and “A Felicidade” (Happiness) with Agostinho dos Santos, Luiz Bonfá and Oscar Castro Neves’ Quartet, “Influência do Jazz” (Influence of Jazz) was repeated but now with Carlos Lyra, “O Barquinho” (The little Boat) with the anthology recording by Roberto Menescal (who debuted in great style and at the same moment retired as singer, as he described in his books) and Again with João Gilberto and Milton Banana. Interestingly, Tom Jobim's participation was not recorded in the released version. A pity, because anyone who was there assured that it was one of the most striking performances.

One of the highest was the performance by Luiz Bonfá on guitar and Agostinho dos Santos singing “Manhã de Carnaval” (Carnival Morning). They were responsible for the largest round of applause, singing and playing selections from "Black Orpheus"-Palme d'Or in Cannes. In the background, the twins, Oscar and Ico Castro Neves, played accompaniment during their performance.

Antonio Carlos Jobim Joao Gilberto

Caetano Zamma

Roberto Menescal

Carlos Lyra

Agostinho dos Santos Oscar Castro Neves Group

Available photos

By David Drew Zingg 3,000 people attended

A sudden halt to freedom of speech and creativity The dictatorship takes over the sun, the flowers, the love and freedom of speech! Two years after the Carnegie Hall Concert, the already super famous style also became an important platform to communicate about political issues during the military coup in 1964. The sweet notes became a symbol of resistance to repression. With the political changes caused by the military coup of 1964, the songs began to bring about social themes. In this way, the music became a clear instrument of political contestation of the Carioca middle class, a symbol of resistance to repression introduced by the dictatorship. It was the beginning of MPB( Brazilian Popular Music). In fact, the movement that originated the Bossa Nova ended in 1966, however, its chronological end did not mean the aesthetic extinction of the musical style, which served as a reference for countless generations of artists and still delights and enchants those with sensitive ears and expanded musical taste.

The repression lasted 20 years 1964

As the art form spread, it was progressively looked at as an inauthentic genre amongst Brazilians. An additional catalyst was the ultimate exchange in power from Juscelino Kubitschek to the Brazilian military government. With this exchange, the romantic and pleasant sounds of Bossa Nova contrasted starkly with the realities of Brazil which were characterized by unrest and instability. The fear that now dominated the public led to the ushering in of new sounds such as Tropicalia and the end of Bossa. Nova as the sounds of hope and positivity in Brazil.

Military dictatorship in Brazil (1964 – 1985) A sudden halt to freedom of speech and creativity. flowers, the love and freedom of speech! Two years after the Carnegie Hall Concert, the already super famous style also became an important platform to communicate about political issues during the military coup in 1964. The sweet notes became a symbol of resistance to repression. With the political changes caused by the military coup of 1964, the songs began to bring about social themes. In this way, the music became a clear instrument of political contestation of the Carioca middle class, a symbol of resistance to repression introduced by the dictatorship. It was the beginning of MPB( Brazilian Popular Music). In fact, the movement that originated the Bossa Nova ended in 1966, however, its chronological end did not mean the aesthetic extinction of the musical style, which served as a reference for countless generations of artists and still delights and enchants those with sensitive ears and expanded musical taste.

The repression lasted 20 years 1964 -1984.

Geraldo Vandré “Caminhando” (Walking)

“Pra não dizer que não falei das flores"

(So no one can say that I didn’t talk about of the Flowers)

During the military dictatorship (1964-1985), many Brazilian

artists left or were forced to leave the country and go abroad. The first countries sought by the artists were Uruguay and Chile, in the hopes that the dictatorship would

last a short time. After a few years, seeing that there was no The end of the first change in Brazilian politics, the artists began a search for new addresses. generation of Bossa The primary destination for the Brazilian exiles was France. Nova and the Paris has become a type of exile capital. Some Brazilians also settled in other European countries such as Sweden. beginning of The lyrics that expressed the ocean, sun, flowers and love are now expressing pain, frustration, and loss of freedom. MPB “Pra não dizer que não falei das flores" (So no one can say ( Brazilian Popular Music) that I didn’t talk about of the Flowers) also known as “Caminhando” (Walking) composed by Geraldo Vandré (Brazilian singer, composer and guitar player) in 1968 became the anthem against the military dictatorship in Brazil.

Caminhando — Walking

“Pra não dizer que não falei das flores"

(“So as Not To Say that I Didn’t Speak of the Flowers" )

Caminhando e cantando,e seguindo a canção; Walking and singing, and following the song; Somos todos iguais, braços dados ou não; We are all equal, arm in arm or not; Nas escolas, nas ruas, campos, construções; In schools, on the streets, fields, buildings; Caminhando e cantando, e seguindo a canção Walking and singing, and following the song

Vem, vamos embora, que esperar não é saber Come on, let's go, because waiting is not knowing Quem sabe faz a hora, não espera acontecer Those who know do it now, don't wait for it to happen Vem, vamos embora, que esperar não é saber Come on, let's go, because waiting is not knowing Quem sabe faz a hora, não espera acontecer Those who know do it now, don't wait for it to happen

Pelos campos há fome, em grandes plantações In the fields there is hunger, within great plantations Pelas ruas marchando, indecisos cordões On the streets’ marching, undecided cords Ainda fazem da flor, seu mais forte refrão Still making the flowers, their chorus stronger And believing in the flowers, beating the cannon E acreditam nas flores, vencendo o canhão

Há soldados armados, amados ou não There are armed soldiers, loved or not Quase todos perdidos, de armas na mão Almost all lost, with guns in their hands In the barracks, they teach them an old lesson Nos quartéis lhes ensinam, uma antiga lição To die for the fatherland, and to live without purpose De morrer pela pátria, e viver sem razão

Nas escolas, nas ruas, campos, construções In schools, on the streets, fields, buildings; Somos todos soldados, armados ou não We are all soldiers, armed or not Caminhando e cantando, e seguindo a canção Walking and singing, and following the song Somos todos iguais, braços dados ou não We are all equal, arm in arm or not; Os amores na mente, as flores no chão Lovers in the mind, and flowers on the ground A certeza na frente, a história na mão Reality ahead, history in hand

Caminhando e cantando, e seguindo a canção Walking and singing. and following the song Aprendendo e ensinando, uma nova lição Learning and teaching, a new lesson

Come on, let's go, because waiting is not knowing Vem, vamos embora, que esperar não é saber Those who know do it now, don't wait for it to happen Quem sabe faz a hora, não espera acontecer Come on, let's go, because waiting is not knowing Vem, vamos embora, que esperar não é saber Those who know do it now, don't wait for it to happen Quem sabe faz a hora, não espera acontecer

LISTEN

IN THE MEANTIME ... BOSSA CRAZE TAKES OVER THE UNITED STATES OF AMERICA AND THE ENTIRE WORLD

Like everything that is new and successful, Bossa Nova also became a brand and would soon be associated with all kinds of products in Brazil and the United States: footwear, appliances, glasses, powdered milk and even a weird way to comb hair. The brand triggered a commercial fever and served to associate the products with the idea of being daring, young and modern.

In Manchester , UK it was created a Bossa Nova Club in 1965.

Bossa Nova Club —1 965 / Chico's / Top Cat, Todd Street, Manchester

The Bossa Nova was near the side entrance to Victoria Station on Todd Street. It was a cocktail bar in the 1960s and in later guises was Chico's (named after Bossa Nova's owner, Chic Taylor and the top floor was also the Top Cat Club.

Frank Sinatra and Antonio Carlos Jobim-1966

Bossa Nova was never meant to remain so ALBUM RELEASED IN 1967 appreciated only in its native cradle. Among its most famous fans, Frank Sinatra was responsible for taking the lead into introducing the melodies of love and beauty to the world. Photo: Courtesy of Frank Sinatra Enterprises

What else honored Brazilian music Miles Davis had attended the formal quently incorporated in the Sinatra & abroad? Bossa presentation at Carnegie Hall. Company album (1971) and the Sinatra–Jobim Sessions compilation We feel that the fact that Frank Bossa wasn't young anymore. It had (1979). In 2010 the Concord Records Sinatra invited Tom Jobim to record been deemed extinct in Brazil. But for label issued a new, comprehensive a Bossa Nova album, with Tom's the rest of the world, it was just compilation entitled Sinatra/Jobim: songs, is the important symbol of the starting. On a splendid December The Complete Reprise Recordings. respect and honor of Brazilian music day, Tom Jobim knew that it was not abroad. a joke when they told him that Frank At the 10th Annual Grammy Awards Sinatra wanted to talk. Maybe a in 1968, Francis Albert Sinatra & December 1966. Jobim was having a genius really knows what a genius Antônio Carlos Jobim was nominated beer, as usual, in Veloso's bar, when is .Tom flew the next day to Los for the Grammy Award for Album of the owner of the bar Mr. E Arménio, Angeles and there stayed for months the Year, but lost to the Beatles Sgt. called him "Mr. Tom, I have a call for recording with Frank Sinatra. The Pepper's Lonely Hearts Club Band. you from the United States" and on Francis Albert Sinatra & Antônio Sinatra had won the previous two the other end of the line was none Carlos Jobim album was released in Grammy awards for album of the other than Frank Sinatra, most 1967. The tracks were arranged and year, in 1966 and 1967. Jobim had to important singer in the world. Even conducted by Claus Ogerman, wait for Sinatra to return from a holi- so, Mr. Arménio merely announced: accompanied by a studio orchestra. day in Barbados where he was taking “a call from the United States. Along with Jobim's original composi- a mutually agreed 'break' from his There's a gringo out there wanting to tions, the album features three marriage to Mia Farrow. Guitarist Al talk to you.” It was then that Frank, standards from the 'Great American Viola played on "Change Partners" Frankie, the voice, announced the Songbook’, (" Change Partners ", due to Jobim's difficulty with the good news: "I want to make a record "I Concentrate on You", and “Baubles, track, but is not credited on the with you and to know if you like the Bangles and Beads") arranged in the album. Lyricists Aloysio de Oliveira idea." Sinatra didn't speak English, Bossa Nova style. Sinatra and Jobim and Ray Gilbert were also present at but Tom spoke English. The answer followed up this album with sessions the sessions. was allegedly: "It's an honor, I'd love for a second collaboration, titled to." Until then, "The girl from Ipane- Sinatra-Jobim. That album was The album was recorded on January ma" had merited 40 versions in just briefly released on 8-track tape in 30 and February 1, 1967, at United the first year of existence. Nat King 1970 before being taken out of print Western Recorders in Hollywood, Los Cole had sung it at the Copacabana at Sinatra's behest, due to concerns Angeles. Palace with Sylvinha Telles, the over its sales potential. Several of the greatest singer of the movement. Sinatra-Jobim tracks were subse-

60 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 THE CONTINUATION OF THE BOSSA NOVA JOURNEY IN THE US. ossa turned into big business. In the hands of pianist/ B bandleader Sérgio Mendes and others, the music took on a more heavily arranged pop gloss. By the late ’60s, however, a Brazilian reaction to this development was in full swing.

The three-time Grammy Award winner and Brazilian music Legend Sérgio Santos Mendes has over 55 album releases, and plays Bossa Nova heavily crossed with jazz and funk. This record is a continuation of the Bossa Nova Journey in USA. He was nominated for an Academy Award for Best Original Song in 2012 as co-writer of the song "Real in Rio" from the animated film Rio. ( see full bio in the edition).

His early music, represented on albums like Bossa Nova York and “The Girl from Ipanema”, was heavily influenced by Antonio Carlos Jobim, on whose recording Mendes worked. Mendes liked what he had found on his visit to New York, and in 1964 he moved to the United States, initially to play on albums with Jobim and Art Farmer, and formed Brasil '65 the following year. The group recorded for Capitol without attracting too much notice at first. In 1966, however, Mendes and his band -- renamed Brasil '66 were signed to A&M Records and something seemed to click between the group and its audience. PURCHASE

The group, consisting in its first A&M incarnation of Mendes on keyboards, Bob Matthews on bass, João Palma on drums, Jose After bouncing around Philips, Atlantic, and Capitol playing Soares as percussionist, Lani Hall (aka Mrs. Herb Alpert and Brazilian jazz or searching for an ideal blend of Brazilian and A&M's co-founder) on vocals, and Janis Hansen on vocals, was American pop, Sergio Mendes struck gold on his first try at A&M successful upon the release of its first album for the label, with (then not much more than the home of Herb Alpert & the Tijua- its mix of Light Jazz, a Bossa Nova beat, and contemporary na Brass and the Baja Marimba Band). He came up with a Soft Pop melodies. Their self-titled debut LP rose to number six marvelously sleek, sexy formula: dual American female voices nationally, propelled by the presence of the single "Mas Que singing in English and Portuguese over a nifty three-man bossa Nada." composed and originally perfomed by Jorge Ben. nova rhythm/vocal section and Mendes' distinctly jazz- oriented piano, performing tight, infectious arrangements of All of Mendes' jazz albums for Atlantic Records, through Nesuhi carefully chosen tunes from Brazil, the U.S., and the U.K. The and Ahmet Ertegun, had low sales. Richard Adler suggested hit was Jorge Ben's "Mas Que Nada," given a catchy, tight that Mendes and the group sing in English, as well as Portu- Bossa Nova arrangement with the voice of Lani Hall soaring guese that Mendes had demanded, and Adler sought new above the swinging rhythm section. But other tracks leap out English-based material such as "Going Out of My Head" by as well; the obvious rouser is the Brazilian go-go treatment of Teddy Randazzo and Bobby Weinstein. In order to sing these the Beatles' "Day Tripper," but the sultry treatment of Henry songs properly in English, Adler suggested that the group find Mancini's "Slow Hot Wind" and the rapid-fire "Tim Dom Dom" two American girl singers who would sing in both English and also deserve mention. Portuguese. Adler called his friend Jerry Dennon, and A&M Records founders Herb Alpert and Jerry Moss, and arranged for See Video an audition for Mendes' new group, which was dubbed "Brasil '66.'" Alpert and Moss signed Mendes and his group to A&M Records. Adler then went to the Ertegun Brothers at Atlantic Records and sought to have them release Mendes from his Atlantic Jazz contract. Ahmet agreed to allow him to record albums under name "Sergio Mendes and Brasil '66" with A&M. Mendes was not at this meeting, only Adler and Ahmet Ertegun. Alpert took over as producer for the A&M albums, and the group became a huge success with their first single, "Mas Que Nada", by writer Jorge Ben. The first album on A&M was Herb Alpert Presents Sergio Mendes and Brasil '66, an album that went platinum based largely on the success of the single "Mas Que Nada" (a Jorge Ben cover) and the personal support of Alpert, with whom Mendes toured.

The original lineup of Brasil '66 was Mendes (piano), vocalists Lani Hall and Bibi Vogel (later replaced by Janis Hansen), Bob Matthews (bass), José Soares (percussion) and João Palma (drums). John Pisano played guitar. This new line-up including Hansen then recorded two more albums between 1966–1968 (including the best-selling Look Around LP), before there was a major personnel change for their fourth album Fool on the Hill.

Source: https://www.allmusic.com/album/sergio-mendes-brasil-66-mw0000319019

NEXT, THE 10 MOST INFLUENTIAL BOSSANOVISTS

PER BOSSA MAGAZINE First Generation

NEXT, THE 10 MOST INFLUENTIAL BOSSANOVISTS PER BOSSA MAGAZINE First Generation

João Gilberto

“Born in June 10, 1931 (age 87)”

“The Creator of the New Guitar Beat”

he singer and guitarist João Gil- Brazil's complex percussion rhythms berto do Prado Pereira de down to an essential set of patterns that Oliveira was born in a small city could be played on the guitar; his sound Tof Juázeiro in the interior of Brazil's was unlike anything heard before on northeastern state, Bahia. guitar in Brazil, where the instrument had largely been relegated to the role of He was the creator of the new sound that accompaniment up to this point. Some led to the creation of a new musical called it violão gago, or "stammering rhythm in Brazil called Bossa Nova in the guitar." He had a unique vocal style to late 1950s. João Gilberto— His wife match, marked by a near-total absence of Astrud Gilberto was the vocalist on "The vibrato which infused his quiet singing Girl from Ipanema” (Garota de Ipanema), with a unique conversational quality. was also a contributor to the Bossa Nova Gilberto was also influenced by contem- movement in the 1960s. porary harmonic developments in Ameri- can jazz, particularly by the West Coast Gilberto seemed attracted to music early musicians whose "cool" aesthetic meshed in life but did not begin playing until age well with the inherent mood of Brazilian 14 when his grandfather gave him a music. Jobim, at the time, was working as guitar. Within a year, despite his father's a staff arranger with the large EMI record disapproval, he was leading a band label, and the two began to shape a track was the Jobim/Vinícius de Moraes composed of fellow students. The sound popular-music revolution. composition"The Girl from Ipanema." of U.S. Big-band Jazz had penetrated With English lyrics added to the original Brazilian radio by the 1940s and Gilberto The story goes (and is generally accepted Portuguese, the song appealed in novel grew up with the music of Duke Ellington by scholars as true, more or less) that ways to America's age-old fascination and Tommy Dorsey in addition to Brazilian over a period of several months in 1956, with tropical cultures. pop songs and Samba music. A less com- the singer, songwriter, and guitarist João mon influence was the crisp, operetta- Gilberto sat in the comfortably echoing The Bossa Nova craze endured for several flavored style of U.S. pop singer Jeanette confines of his sister’s bathroom in more years in the United States, and its MacDonald. Diamantina, a town in southeastern impact could still be heard two decades Brazil, singing quietly to himself and later in recordings such as Sade's In 1949 Gilberto headed for the city of playing a repeating series of chord "Smooth Operator." But Gilberto, tempe- Salvador, Bahia, in hopes of launching a patterns on his acoustic guitar for hours ramentally unsuited to the stardom he musical career. He went on to the at a time, day after day. His mission: to achieved, shared little in the rewards metropolis of Rio de Janeiro a year later. create a new approach to performance— other Brazilian musicians enjoyed; he His attempts to land a vocal radio slot which would involve approximating the canceled the remaining eight nights of a were unsuccessful, and a local band entire rhythm section of a samba group nine-night engagement at Chicago's ousted him as its lead vocalist due to a on one stringed instrument. London House, objecting to the club's halfhearted attitude on Gilberto's part noise levels. Still, Gilberto continued to which sometimes led him to skip live By 1958 and 1959 Gilberto was enjoying record through the 1970s and 1980s, performances. Even after success came hits with recordings such as "Chega de amassing a body of work that enjoyed his way, Gilberto remained reluctant to saudade" ("No More Blues") and the self- consistently strong critical acclaim. perform in public. Well before the hipster penned "Bim Bom." He also contributed era, Gilberto embarked on a creative but songs to one of the landmarks of Brazilian Joined in the musical arena in the 1990s rootless existence marked by heavy mari- culture during that period, the film “Orfeu by his daughter, Bebel, Gilberto hardly juana use. Technically homeless at times, Negro”, known in the United States as slowed down as he entered his seventh Gilberto performed in nightclubs when it “Black Orpheus”. By this time the new decade. His 1991 album João Gilberto suited him and gained a circle of friends music Gilberto had helped to create had featured the singer in an uncommon that included several future stars of acquired the name Bossa Nova, or "new orchestral setting. But he returned in Brazilian music—notably, vocalist, Luiz wave." And, influenced by American jazz, 2000 with João Voz e Violão, which Bonfa and, pianist and composer, it began to attract the attention of featured only Gilberto's voice and guitar Antonio arlos Jobim. American jazz players in return. and was widely described as minimalist. In support of that album and the 40th Concerned that Gilberto might be sinking Jazz guitarist Charlie Byrd visited Brazil anniversary of his first Bossa Nova into a downward spiral, a friend inter- on a U.S. State Department tour, and in recordings, Gilberto undertook a rare vened and took him to the smaller city of 1962 Byrd and saxophonist Stan Getz concert tour; it was enthusiastically Porto Alegre. Soon Gilberto moved in released the album Jazz Samba, featuring received by audiences, eager for a glimpse with his sister and began to spend much some of Gilberto's compositions. With the of one of the twentieth century's true of his time practicing his guitar and Bossa Nova trend on the upswing that musical creators. singing obsessively. Mystified by his year, Gilberto moved to the United States behavior, Gilberto's family checked him himself; he remained in the States until Awards: Won two Grammy awards, 1964, into a mental hospital in Salvador. Soon 1980. In 1963, he and Getz released the for Getz/Gilberto album and "The Girl released, he swore off drug use. Back in album Getz/Gilberto, a jazz classic that from Ipanema” Rio, Gilberto began writing songs and offered mid-1960s jazz listeners one of Source: sought out Jobim as a collaborator. In the the few alternatives to the experimental http://biography.jrank.org/pages/3361/ solitude of his sister's home Gilberto had modernism that dominated the jazz stage Gilberto-Jo-o-1931-Brazilian-Vocalist- forged a new style that distilled many of at the time. The album's most famous Guitarist.html

Johnny Alf

“Born in May 19, 1929 -March 4, 2010”

“He introduced a new way of singing”

ohnny Alf is a true genius, unfortu- regularly frequented on Saturdays to J nately he is also highly underesti- listen to and discuss music. These mated. He introduced Brazil to a encounters began in 1949 and in1950, new way of singing, playing, and composing they created another jazz fan club, the several years before the term "Bossa “Hot Club do Rio”. Raffaelli recounted, in Nova" was coined. Tom Jobim, Leny a private interview, that at one of those Andrade, Luís Eça, Carlos Lyra, and all musical meetings they learned of a boy those who came after had some Alf influ- who lived with the family that had enlist- ences. Always rejecting the label Bossa ed, but was recovering from tuberculosis. Nova, Alf focused on his artistic achieve- They were listening to a Red Rodney 10" ments and let go of the music press, LP recorded for Imperial, where the sec- which continued ignoring him. His im- ond track was Chopin's "Minute" valse in portance in Brazilian popular music as a a jazz rendition. When the third track be- fundamental precursor is still to be gan, one of the listeners commented, properly acknowledged, while he has "Isto dá samba..." (loosely, "it can be been frequently recorded by international turned into samba rhythm"); Alf replied musicians such as Lalo Schifrin ("Rapaz that that track couldn't, but the previous de Bem"). In Brazil, his playing is logged one could. Challenged, he went to the A meeting point for all people interested on 46 albums, singles, compilations, and piano and composed his masterpiece in jazz music, the Plaza was the cradle of participations, but he has recorded only samba "Seu Chopin, Desculpe," with lyr- Bossa, not just the Southside apartments nine solo LPs or CDs in his career. ics and music completed in only 15 generally associated within that, and Alf minutes. Some months later, Raffaelli cemented his position there as a seminal Alf began his piano studies at nine with a met César de Alencar, then the most pop- influence in modern Brazilian music. family friend, Geni Borges. Soon, he ular radio host in Brazil, casually on the demonstrated an interest in North Ameri- street. De Alencar told him that he was In 1954, before the Bossa movement can composers, such as George Gershwin opening a new nightclub and was looking boomed in Rio, Alf felt segregated from and Cole Porter, and in unnoticed Brazilian for a pianist who could sing both in Portu- the other musicians, so he moved to São revolutionaries such as Garoto, Custódio guese and English and wasn't expensive. Paulo. His extraordinary musicality fright- Mesquita, Lúcio Alves, and Gilberto Alf, who had been previously mentioned ened the competition. He primarily went Milfont, together with the famous Dick to de Alencar by Farney, was chosen and there to open the nightclub Baiuquinha Farney. At 14, he formed a group with began to play at the Cantina do César, on on Major Sertório. After that, at Michel, he friends in Vila Isabel, playing on week- Rua Rodolfo Dantas, Copacabana. played with the then novices Paulinho ends in Andaraí. Studying at the Pedro II Nogueira, Sabá, and Luís Chaves. In 1955, school, he was invited by his colleagues That was 1950, when Tom Jobim was an he recorded a 78 rpm album for Copaca- to join the cultural meetings promoted by unknown, who after his day gig would go bana Brazil, which is considered by sever- the Brazil-U.S. Institute Ibeu. They met to the Cantina do César to learn those al musicologists to be the first Bossa weekly to listen to and discuss jazz music crazy harmonies, that new comping style Nova album, three years before João and to watch jazz movies, concerts, etc. (inspired by Nat "King" Cole's), and that Gilberto's Chega de Saudade. In 1961, he At that time, Alf was working as an new compositional style, even formally was invited by composer Chico Feitosa to accounting assistant and was already asking Alf to teach him. At the Cantina do perform at the historic Carnegie Hall writing music. At 18, he enlisted; soon César, Alf was approached by actress Bossa Nova Festival, but Alf refused the after, in 1949, Dick Farney returned from Mary Gonçalves, who had been elected invitation. That was the year he recorded his stint in the U.S. As one of the first (and Queen of Radio of 1952. She included on his first LP, Rapaz de Bem, for RCA. The certainly the most successful) singers to her debut album, Convite ao Romance, next year, he spent a season in Rio at the incorporate jazz influences in his own four of Alf's compositions, "Estamos Sós," Bottle's Bar, which also featured Sérgio personal expression, Farney already had "O que é Amar," "Podem Falar," and Mendes, Luís Carlos Vinhas, Sílvia Telles, a great number of fans, people who were "Escuta." Alf then went to the Monte Car- and the Tamba Trio. aficionados of the new music directions. lo nightclub, playing with violinist Fafá Lemos' group. Alf's first recording (for Alf recorded the CD Eu e a Bossa for Rob The jazz meetings, welcoming Farney, Sinter) dates from this period (September Digital, regretting in later interviews the adopted the name of Sinatra-Farney Fan 1952), with his "Falseta" accompanied by label's choice of title and subtitle (40 Club, revering another already influential the great Garoto (violão), and bassist Years of Bossa Nova). That year, he was name of the times. Amongst the fre- Vidal. also the 20th artist awarded for lifelong quenters, there were several names that achievement by Prêmio Shell. Through- would later be famous in music, such as He also played at the nightclubs Manda- out his life, he has kept a regular schedule Tom Jobim, Nora Ney, and Luís Bonfá, rim, Clube da Chave, and Drink. Already a as a night club performer. among others. He'd been a longtime die- renowned musician on the artistic scene, hard jazz fan and jazz journalist, José Alf began to play at the focal point of the Read his full bio: Domingos Raffaelli was also a longtime burgeoning Bossa Nova, the Plaza night- https://www.allmusic.com/artist/johnny- friend of Luís Paulo Ribeiro's, whose club at Avenida Princesa Isabel. alf-mn0000236366 home he together with other friends,

Tom Jobim

“Born in January 25, 1927 - December 8, 1994”

“The Ultimate Musician”

has been said that Antonio 1956 when he teamed up with poet Carlos Brasileiro de Almeida Vinícius de Moraes to provide part of the Jobim was the George Gershwin score for a play called Orfeo do Carnaval of Brazil, and there is a solid ring (later made into the famous film Black Itof truth in that, for both contributed large Orpheus). In 1958, the then-unknown bodies of songs to the jazz repertoire, Brazilian singer João Gilberto recorded both expanded their reach into the con- some of Jobim's songs, which had the cert hall, and both tend to symbolize their effect of launching the phenomenon countries in the eyes of the rest of the known as Bossa Nova. Jobim's break- world. With their gracefully urbane, through outside Brazil occurred in 1962 sensuously aching melodies and harmo- when Stan Getz and Charlie Byrd scored a nies, Jobim's songs gave jazz musicians Surprise hit with his tune “Desafinado” in the 1960s a quiet, strikingly original (Out of tune) -- and later that year, he alternative to their traditional Tin Pan and several other Brazilian musicians Alley source. were invited to participate in a Carnegie Hall showcase. Fueled by Jobim's songs, Jobim's roots were always planted firmly the bossa nova became an international in jazz; the records of Gerry Mulligan, fad, and jazz musicians jumped on the Chet Baker, Barney Kessel, and other bandwagon, recording album after album At the time of his final concerts in Brazil in West Coast jazz musicians made an enor- of bossa novas until the trend ran out of September 1993 and at Carnegie Hall in mous impact upon him in the 1950s. But commercial steam in the late '60s. April 1994 (both available on Verve), he also claimed that the French impres- Jobim at last was receiving the universal sionist composer Claude Debussy had a Jobim himself preferred the recording recognition he deserved, and a plethora decisive influence upon his harmonies, studios to touring, making several lovely of tribute albums and concerts followed and the Brazilian samba gave his music a albums of his music as a pianist, guitarist, in the wake of his sudden death in New uniquely exotic rhythmic underpinning. and singer for Verve, Warner Bros., York City of heart failure. Jobim's reputa- As a pianist, he usually kept things simple Discovery, A&M, CTI, and MCA in the '60s tion as one of the great songwriters of the and melodically to the point with a touch and '70s, and Verve again in the last dec- century is now secure, nowhere more so that reminds some of Claude Thornhill, ade of his life. Early on, he started collab- than on the jazz scene, where every other but some of his records show that he orating with arranger/conductor Claus set seems to contain at least one Bossa could also stretch out when given room. Ogerman, whose subtle, caressing, occa- Nova. His guitar was limited mostly to gentle sionally moody charts gave his records a strumming of the syncopated rhythms, haunting ambience. When Brazilian Discography: https://www.allmusic.com/ and he sang in a modest, slightly hoarse music was in its American eclipse after artist/ant%C3%B4nio-carlos-jobim- yet often hauntingly emotional manner. the '60s, a victim of overexposure and the mn0000781837/discography burgeoning rock revolution, Jobim Born in the Tijuca neighborhood of Rio, retreated more into the background, Biography: https://www.allmusic.com/ Jobim originally was headed for a career concentrating much energy upon film artist/antônio-carlos-jobim- as an architect. Yet by the time he turned and TV scores in Brazil. But by 1985, as mn0000781837/biography 20, the lure of music was too powerful, the idea of world music and a second and so he started playing piano in night- Brazilian wave gathered steam, Jobim started touring again with a group Read more: https://en.wikipedia.org/ clubs and working in recording studios. wiki/Antônio_Carlos_Jobim He made his first record in 1954 backing containing his second wife Ana Lontra, singer Bill Farr as the leader of "Tom and his son Paulo, daughter Elizabeth, and His Band" (Tom was Jobim's lifelong various musician friends. nickname), and he first found fame in

Vinicius de Moraes

“Born in January 19, 1942 - June 7, 1989 ”

“The fundamental poet”

V inícius de Moraes was a fundamental and "Outra Vez." All their had great impetus figure in Brazilian music. As a poet, he wrote after that record, and the songs written by lyrics for a great number of songs that Tom & Vinícius were sought by singers. In became all-time Bossa Nova and Samba 1959, the movie “Orfeu do Carnaval”, based classics. As a composer, he wrote some good on the play “Orfeu da Conceição”, was music, and as an interpreter, he left several awarded with the Golden Palm at the interna- important albums. From a musical family, he tional movie festival in Cannes, France, and, began very early to write poetry. At 14 he in Hollywood, as the best foreign movie. became friends with the brothers Paulo and Haroldo Tapajós. With Haroldo, he composed At that time, he and Jobim composed "Eu Sei the fox song "Loura ou Morena," recorded by Que Vou Te Amar" and "Amor em Paz." In the two brothers in 1932 with success for 1960 he wrote O Amor dos Homens. In 1961 Columbia. he composed with Carlos Lyra "Coisa Mais Linda," "Primeira Namorada," "Nada Como In 1929 de Moraes enrolled in law school in Ter Amor," and "Você e Eu." In 1962 he wrote Catete, Rio. Between 1932 and 1933 he wrote (together with Pixinguinha) the soundtrack the lyrics for ten songs that were recorded by for the movie “Sol Sobre a Lama” (Alex Viany), his partners: seven with Haroldo Tapajós, two which included "Lamento"; he also met with Paulo, and one with J. Medina (which Baden Powell and wrote with him "Samba da was recorded by João Petra de Barros). In Bênção," "Só por Amor," "Canção de Amor e 1933 he finished his college studies and Paz," "Pra Que Chorar," "Deixa," "Samba em soundtrack of Claude Lelouch's movie “Un released his first book, O Caminho Para a Prelúdio," "Apelo," "Berimbau," “Consolacao” Homme et une Femme”, winner of the Cannes Distância. In 1935 he had his second book and other great classics. After Powell's return movie festival. (Forma e Exegese) awarded, and in the next from Bahia, where he dedicated himself to year, he became a cinema censor for the researching Bahian folklore, they composed He also wrote “Para uma Menina com uma Health and Education Cabinet. In 1936 he the series known as Afro-Sambas: "Samba de Flor”. In 1968 he was summarily fired, after 26 wrote Ariana, a Mulher and in 1938 headed to Oxossi," "Canto de Xangô," "Canto de years of work, from Itamaraty by the discre- England, with an English government scholar- Ossanha," and others. With Carlos Lyra he tionary powers of military dictatorship. ship to study literature at Oxford University, wrote "Marcha da Quarta-Feira de Cinzas" and wrote Novos Poemas. At that time he was and "Minha Namorada," included in his play That year, he toured extensively throughout married by proxy. “Pobre Menina Rica”. Europe (with Chico Buarque and Nara Leão) and Argentina (with Dorival Caymmi, With the development of World War I, he In August 1962, together with Jobim, João Quarteto em Cy, Baden Powell, and Oscar returned to Rio. In 1941 he began to write film Gilberto, and Os Cariocas, he opened the Castro-Neves). In 1969 he performed at Punta reviews and critiques. Two years later he show “Encontro” at the Au Bon Gourmet del Este, Uruguay, with Maria Creuza and Dori joined Brazil's diplomatic service, Itamaraty, nightclub (Rio). That show represented the Caymmi. Still in 1969 he also partnered with also releasing the book Cinco Elegias. In 1946 first performance of "Garota de Ipanema," Toquinho (de Moraes' most frequent partner he was sent to Los Angeles on his first diplo- "Insensatez," "Ela é Carioca," "Só Danço and best friend, they would record 20 LPs matic assignment as Vice Consul and released Samba," "Samba do Avião" (all with Jobim), together), with whom, along with Marília Poemas, Sonetos e Baladas. In 1950 he and "Samba da Bênção." The same nightclub Medalha, he opened a show in 1970 at the returned to Brazil due to his father's death. presented his play “Pobre Menina Rica”, Teatro Castro Alves (Salvador). With them, he His first Samba (with Antônio Maria) dated which had music by Carlos Lyra ("Sabe Você," performed at the La Fusa nightclub (Buenos 1953, "Quando Tu Passas por Mim," was the "Primavera," and "Pau-de-Arara"). The play Aires, Argentina); in January 1971 Toquinho year he moved to France as the Brazilian launched the career of Nara Leão. He also and de Moraes would again perform there, Embassy Second Secretary. released “Para Viver um Grande Amor. “ this time with Maria Bethânia. Still in 1970, taking a hit by Garoto written 20 years before, His play “Orfeu da Conceição” won the IV São The following year he met Edu Lobo, with he wrote (together with Chico Buarque) the Paulo Centennial Contest in 1954. In 1955 he whom he would write "Arrastão" (which lyrics for "Gente Humilde." His book Arca de wrote lyrics for some of Cláudio Santoro's would win the FMPB I in 1965 with Elis Noé would yield, ten years later, several TV chamber music pieces. The following year he Regina's interpretation), "Zambi," and stagings with music by Toquinho, which was staged “Orfeu da Conceição”, which was "Canção do Amanhecer." released on two LPs: A Arca de Noé (Ariola, filmed by French writer Marcel Camus. He was 1980) and A Arca de Noé, Vol. 2 (Ariola, 1981). then introduced to an unknown pianist, Returning to Paris, he worked for UNESCO Antonio Carlos Jobim, who was commis- until 1964. Meeting Francis Hime upon return- In 1971 an LP with his compositions (with sioned with writing the music for the play. ing to Brazil, they composed "Saudade de Toquinho) "Tarde em Itapoã" and "Como Jobim composed "Se Todos Fossem Iguais a Amar," "Sem Mais Adeus," and "Eu Te Amo, Dizia o Poeta" was released by RGE with great Você," "Um Nome de Mulher," and several Amor." Together with Dorival Caymmi he success. This brought a great number of invi- others, recorded by Odeon with Luiz Bonfá presented a show at the Zum-Zum nightclub, tations to tour in Brazil and abroad. Always and others. Following a return to Paris in 1956 which was a major success. Recorded live, it successful the duo came out with "Maria-vai- he took another diplomatic assignment in was released by Elenco. Quarteto em Cy, four Com-as-Outras," "Testamento" (1971), "Regra Montevideo, Uruguay, in 1957 (when he singing sisters that he discovered, debuted on Três" (1972), and others. With Toquinho and released Livro de Sonetos, followed by Novos that show. At the FMPB I, Elizeth Cardoso’ Clara Nunes, he presented the 1973 show “O Poemas II in 1959), where he stayed until interpretation of "Valsa do Amor Que Não Poeta, a Moça e o Violão” at the Teatro Castro 1960. Vem" (together with Baden Powell) won Alves, Bahia. second place. He collaborated on the script In 1958 Elizeth Cardoso released her album, of the movie “Garota de Ipanema” and had a marking the beginning of Bossa Nova. She second season of his show with Dorival Read more: https://www.allmusic.com/artist/ included on it five compositions by the duo Caymmi. Also in 1965 he released O Mergulha- vinícius-de-moraes-mn0000219243/ Tom & Vinícius: "Canção do Amor Demais," dor. In 1966, he participated (with Maria biography "Chega de Saudade," "Outra Vez," "Luciana," Bethânia and Gilberto Gil) in the show and "Estrada Branca." The album also “ Pois É” at the Teatro Opinião, which featured João Gilberto and his "different presented Gil's compositions. His "Samba da beat" onto two tracks, "Chega de Saudade" Bênção" (with Baden) was included on the

Silvinha Telles

“Born: August 27, 1934 - December 17, 1966”

“One of the most important Bossa Nova singers”

She was born in 1934 and she had the ambition to With her husband Candinho she hosted the be a ballet dancer. She studied with Madeleine program “Música e Romance” (at TV Rio), with Rosay at the Teatro Municipal's ballet corp in Rio guests like Johnny Alf, Tom Jobim, Billy Blanco, de Janeiro, but she would also practice singing Dolores Durán and Garoto. In 1957 she had her and playing the piano. first LP released, Carícia, with "Chove Lá Fora" (Tito Madi), "Se Todos Fossem Iguais a Telles preceded the advent of Bossa Nova, and Você" (Tom Jobim/Vinícius de Moraes) and began covering songs by such influential musi- "Canção da Volta" (Ismael Neto/Antônio Maria). cians like "Corcovado" (Tom Jobim), "Se é Tarde me Perdoa" (Carlos Lyra/Ronaldo Bôscoli), "Amor In 1958 she performed at the Grupo Universitário em Paz" (Tom Jobim/Vinícius de Moraes), Hebraico (Rio), one of the important shows "Insensatez" (Tom Jobim/Vinícius de Moraes), preceding the Bossa Nova boom, with Carlos Lyra "Você" (Roberto Menescal/Ronaldo Bôscoli), and Roberto Menescal, among others. Sílvia "Balanço Zona Sul" (Tito Madi), "Preciso Apren- (1959) had "Estrada do Sol" (Tom Jobim/Dolores der a Ser Só" (Marcos Valle/Paulo Sérgio Valle) Durán) and "Mágoa" (Tito Madi). Amor de Gente and "Eu Preciso de Você" (Tom Jobim/Aloysio de Moça (released the same year, the album that Oliveira), among others. Mother of vocalist brought her the definitive recognition) had several Cláudia Telles, Silvinha Telles debuted as a songs by Tom Jobim: "Só em Teus Braços", "A professional in 1955 in the revue “Gente de Bem e Felicidade" (with Vinícius de Moraes), "Sem Champanhota”, staged at the Follies Theater (Rio Você" (with Vinícius de Moraes) and "O Que Tinha de Janeiro), with the song "Amendoim Torradi- de Ser" (with Vinícius de Moraes). Also in 1959 she nho" (Augusto Garcez/Ciro de Souza). The song participated in the historic Festival de Samba was recorded by her the same year as Session I, at the State University of Rio de Janeiro "Desejo" (Garoto/José Vasconcelos/Luís Cláudio). Architecture School (Faculdade Nacional de Her next 78 rpm is considered one of the Bossa Arquitetura).She was killed in a car accident at Nova forerunners, with "Menina" (Carlos Lyra) the age of 32. and "Foi a Noite" (Tom Jobim/Newton Mendonça).

Source: https://en.wikipedia.org/wiki/Sylvia_Telles

João Donato

“Born in August 17, 1934”(age 84)

“The Pre-Bossa Music Master”

oão Donato de Oliveira Neto is a “ Carinhoso” (Pixinguinha – João de Barro), J Brazilian Jazz and Bossa Nova pianist, “Baião” (Luiz Gonzaga – Humberto), born in Rio Branco, the capital of the “Peguei um Ita no norte” (Dorival Caymmi). state of Acre, Brazil, on August 17, 1934. Afterwards, Donato spent two years in São Paulo. Until it officially appeared, with João Gilberto and Tom Jobim, Bossa Nova had Back in Rio, the Bossa Nova had broken out. some musical predecessors. The composer, João Gilberto himself said here and there pianist and arranger João Donato whose that he had picked up his revolutionary way of playing influenced the Bossa Nova. guitar beat while watching Donato play the In 1953, five years before the birth of Bossa piano. That same year, 1958, he records Nova, Donato used syncopations very “Minha saudade” and “Mambinho”, written similar to the beat of João Gilberto's guitar. in partnership between the two Joãos, Donato and Gilberto. Invited by Nanai (a João’s first instrument was an accordion, former member of the band Os Namorados) on which he composed his first piece, the he leaves Brazil for a six-week contract at a waltz “Nini”, at the age of eight. Before his casino in Lake Tahoe (Nevada). Donato 12th birthday, his father gave him 24 and contextualised the influence of Jazz, inte- 120-bass accordions. In 1945, Donato senior grated Caribbean music into the orchestras was transferred and the family had to leave of Mongo Santamaría, Johnny Martinez, Cal Rio Branco heading to Rio de Janeiro. The Tjader and Tito Puente. He even went on musical circuit consisted of parties at the tour with João Gilberto around Europe. He Tijuca and neighboring area school. He tried return to Brazil in 1962, just in time to com- his luck on TV on Ary Barroso’s talent search pose two classic, ever fashionable set program. Intransigent, Ary emphatically pieces of the Brazilian instrumental music – refused to hear him, with the allegation that “Muito à vontade” (1962) and “A Bossa he “did not like child prodigies”. Luckily, muito moderna de João Donato” (1963), there were more attentive ears. both with Polydor, reissued in the early 2000s on CD by Dubas. Donato at the piano, He became professional in 1949, at the age Milton Banana on drums, Tião Neto on bass of 15, Donato’s resume already showed the and Amaury Rodrigues, percussion. In 1962 mythological jam-sessions held at singer vibraphonist Dave Pike recorded an album Dick Farney’s place and at the Sinatra- “Bossa Nova Carnival” including all Back again to Rio in 1972, Donato visited Farney Fan Club, where he was a member. Donato’s compositions. the composer Marcos Valle. There he met Johnny Alf, Nora Ney, Dóris Monteiro, Paulo singer Agostinho dos Santos, who suggested Moura and even Jô Soares, on bongos, were “A Bossa muito moderna” introduces some to Donato that he should work on lyrics for among the components of these vitaminized original instrumental themes which, many his songs. This opened the floodgates for jams. He first worked with Altamiro years later (with lyrics added), would be Donato’s irresistible themes to receive the Carrilho, and went on to perform with other mandatory in every Brazilian pop music status of popular song. Valle took the musicians including Tom Jobim, Astrud songbook. Among them “Índio perdido”, chance of inviting him to record a new Gilberto, as well as a host of others. On his that would become “Lugar comum”, when album in Brazil, with its repertoire taken first recording, joining flutist Altamiro Gilberto Gil wrote its lyrics. Gil is also a from this new collection on songs. João was Carrilho’s band, Donato plays accordion on partner in the lyrics that would make “Villa back, absolutely reinvented. “Quem é the two tracks of the 78 RPM: Ernesto Grazia” become “Bananeira”. Then we have quem”, released by EMI in 1973 includes the “Silk Stop”,the original theme upon which tracks “Terremoto”, “Chorou, chorou” (both Nazareth’s “Brejeiro”, and “Feliz Aniversá Martinho da Vila would write “Gaiolas with lyrics by Paulo César Pinheiro”), “Até rio”, by Altamiro himself. Soon after he Abertas”. The influence of Cuban music is quem sabe” (with Lysias), “Cadê migrates to violinist Fafá Lemos’ band, as a evident in “Bluchanga”, from the time when Jodel?” (with Marcos Valle). Even Dorival substitute for Chiquinho do Accordion. Donato played with Mongo Santamaría. Caymmi contributes an unpublished, “Cala a Afterwards Donato packs his bags and boca, Menino”. In a letter to João Gilberto, As a piano player, from 1953, Donato begins returns to the USA. This time, the contract on September 13, 1973, Donato cannot hide to lead his own instrumental groups, – would last for almost a decade. He worked his enthusiasm: “It’s my best recorded work Donato e seu Conjunto, Donato Trio, the with Nelson Riddle, Herbie Mann, Chet to date, taking into account the time it took, group Os Namorados – with whom he Baker, Cal Tjader, Bud Shank, Armando which explains the maximum care given to releases on 78 RPM instrumental versions of Peraza, etc. Alongside João Gilberto, Jobim, everything on it. And the outcome is an American and Brazilian music standards Moacir Santos, Eumir Deodato, Sérgio album that I find simply adorable”. It was (such as “Tenderly”, a Nat King Cole hit) and Mendes and Astrud Gilberto, Donato was a also considered as one of the 100 best (“Se acaso você chegasse”, by Lupicinio key player for the team that would really albums in all times by the Rolling Stone Rodrigues, a Samba composer from the make Brazil internationally recognized for magazine. In 2008 “Quem é Quem” was the state of Rio Grande do Sul). Three years its music. The album “A Bad Donato” (1970), subject of a TV program entirely dedicated later, Odeon assigns a novice arranger to recorded for Blue Thumb, a California- to him by Canal Brasil, presented by Charles carry out the musical direction of “Chá based label, and relaunched on CD by Du- Gavin; and of a book written by producer Dançante” (Tea Dance) in 1956, Donato and bas. Recorded in Los Angeles, “A Bad Dona- and musician Kassin. his band’s first LP album. A certain Antonio to” condenses funk, psychedelia, soul mu- Carlos Jobim – who later on would have an sic, Afro-Cuban sounds and jazz fusion. A airport named after him – would be the groovy, poisoned-sound dancing Donato, – Click here to read his full bio director of this pilot son’s album. The reper- highly wired with the Californian dream’s toire chosen by Jobim was to really take off experimentalism - considered as one of the at any debutants’ ball: “No rancho 100 best albums of all times by the Rolling fundo” (Lamartine Babo – Ary Barroso), Stone magazine.

Carlos Lyra

“Born in May 11, 1935 (age 83)”

“A completely different lyrical style”

arlos Eduardo Lyra Barbosa, "Coisa Mais Linda", "Você e Eu", "Maria Brazil, singer and composer of Ninguém" (once claimed by Jacqueline numerous Bossa Nova and Bra- Kennedy to be her favorite song), and zilian Popular Music classics. He "Influência do Jazz". One of the most and Antonio Carlos Jobim, were important artists of the Bossa Nova Cthe first two music composers, together movement, Carlos Lyra was also an intel- with lyricists Vinicius de Moraes and lectual behind the movement, forging Ronaldo Boscoli, to be recorded by João new directions like the protest song. Lyra Gilberto on his first LP entitled “Chega de wrote some of the best moments of the Saudade” (1959), which was called the Bossa Nova, on his own, or together with first generation of Bossa Nova. illustrious partners like Vinícius de Moraes. With Roberto Menescal, Carlos His first recorded song was “Menina” Lyra created a guitar academy that be- (1954), issued as a single by Sylvia Telles came a meeting place for future artists in 1955, with "Foi a Noite" by Antonio like Edu Lobo, Marcos Valle, Nara Leão, Carlos Jobim on the other side of the and Ronaldo Bôscoli. record. The writers first met because of this single, when Jobim called Lyra "the In 1954, Geraldo Vandré interpreted his other side of the record". At that time, song "Menina" in a festival; it was both were writing their own music & lyrics recorded the following year by Sílvia creating a colloquial and completely new Telles. Three years later, Os Cariocas In 1962, Lyra participated in the Bossa style. They wrote about their own experi- recorded his "Criticando." In 1959, João Nova Festival at Carnegie Hall (New York). ences and feelings. Gilberto included three of Lyra's composi- The following year, Lyra wrote the sound- tions: "Maria Ninguém," "Lobo Bobo," track of the film “Bonitinha Mas Ordinaria’ A completely different lyrical style from and "Saudade Fez um Samba" (the latter over lyrics by Nelson Rodrigues. In 1964, most songs written that time. two written with Bôscoli) in his Chega de he appeared in the Newport Festival with His first compositions (music & lyrics), Saudade (a landmark for the Bossa Nova Stan Getz, touring with him the following from 1954 to 1956 included: "Quando genre). Lyra also recorded his first solo year through U.S, Canada, Europe, and Chegares"; "Menina";" Barquinho de album that year, Carlos Lyra - Bossa Nova. Japan. In 1965, he also recorded with Papel"; "Ciúme"; "Criticando" and "Maria Paul Winter. Ninguém". In 1957 he started to compose Interested in a more active political mili- together with the lyricist Ronaldo Bôscoli, tancy, Lyra wrote soundtracks for plays From that year on, he spent several years songs such as "Lobo Bobo", "Saudade Fez like Vianinha's “A Mais-Valia Vai Acabar, in Mexico, where he worked intensively as um Samba" and" Se é Tarde me Perdoa." Seu Edgar.” That same year, Lyra met a composer of soundtracks for short sub- In 1958 wrote "Aruanda" and "Quem Vinícius de Moraes, with whom he would jects and plays. In 1983, he started his Quiser Encontrar o Amor," with Geraldo write Bossa Nova classics like "Você e Eu," partnership with Paulo César Pinheiro. Vandré. In 1960 he started to compose "Minha Namorada," "Marcha da Quarta- Four years later, he performed in Spain together with Vinicius de Moraes, songs Feira de Cinzas," and "Coisa Mais Linda." with Caetano Veloso, Toquinho, and Nana like "Você e Eu," "Coisa Mais Linda," His social concerns took him to the CPC Caymmi. In 1988, he played in Japan with “Sabe Você?,", Samba do Carioca," "Maria (Popular Center of Culture), where he Leila Pinheiro and the Quarteto em Cy. In Moita" and many others. Together they would brew a protest song derived from 1992, Lyra toured Spain and Portugal and wrote a musical play, in 1962, called the Bossa Nova, seen by him and other performed at the Pescara Jazz Festival "Pobre Menina Rica" (“Poor Little Rich composers like Edu Lobo, Geraldo Vandré, together with Gerry Mulligan and Gary Girl”). In 1961 he was one of the five and Chico Buarque as reactionary. The Burton. In 1997, Lyra opened the show founders of CPC (Center of Popular Cul- immediate result of his cultural activity “40 Years of Bossa Nova” in Tokyo/Japan, ture) where he started to write songs for was a partnership with Zé Kéti in "Samba together with Roberto Menescal, Leila cinema and theater. He also wrote the da Legalidade," influencing the formation Pinheiro, and Astrud Gilberto. song "Influência do Jazz,” (Jazz Influence” of the historic “Opinião show”, with Nara one of the songs he sang at the Bossa Leão, Maria Bethânia, Zé Kéti, and João Sources: https://www.allmusic.com/ Nova Concert at Carnegie Hall, in 1962. do Vale and a highly politicized context. artist/carlos-lyra-mn0000171784/ Lyra's most famous compositions include https://en.wikipedia.org/wiki/Carlos_Lyra

Nara Leão

“Born in January 19, 1942 - June 7, 1989 ”

“The Muse of Bossa Nova”

Nara Leão, singer and guitarist, originally which became all-time hits, two other from Vitória, Espírito Santo, is considered to tracks recorded on that album had the be the Muse of Bossa Nova, as she is affec- same success: "Consolação" (Baden Powell/ tionately known for opening her apartment Vinícius de Moraes) and "O Morro" (Carlos for meetings that led to the Bossa Nova Lyra/Gianfrancesco Guarnieri). On that al- Movement. She didn't restrict herself as bum, she revealed her social concerns (still only a Bossa Nova singer, though, and was a bit naïve), choosing a non-bossa reper- one of the first artists to engage in the toire. These concerns were even more movement later known as "Canção de evident in the following phase of her career Protesto" (Protest Song), an artistic move- when a coup took power over Brazil and ment which denounced military dictator- installed a military dictatorship; this event ship in Brazil. She launched the careers of provoked her to actively denounce it. Her such composers/interpreters as Chico second album, Opinião de Nara (Leão's Buarque, Zé Keti, Martinho da Vila, Edu Lo- opinion, Philips, 1964), brought Opinião" bo, Paulinho da Viola, and Fagner. An inter- "(Zé Keti). In December 1964, she had great national performer in spite of her curt, success with the show “Opinião(Gian- uneducated voice, she left an expressive francesco Guarnieri/Augusto Boal) at the discography even though death premature- Teatro Opinião (Rio). ly caught her by surprise. The show brought together Leão, a middle- class young girl, Zé Keti, representing the In 1967, she recorded the LP Canto Livre de In 1954, she took her first guitar lessons morro people, and João do Vale, from the Nara. In 1968, she joined the Tropicalista with Solon Ayala and Patrício Teixeira, and poor region of the Northeast. The show was movement, joining Caetano Veloso, Gilberto then with Roberto Menescal and Carlos such a long-running success that it stole Gil, Rogério Duprat, Tom Zé, Capinam, Os Lyra. As an amateur, she participated in the middle-class audiences making the Mutantes, Torquato Neto, and Gal Costa on first university performances when Bossa important samba stronghold, Zicartola the LP Tropicália ou Panis et Cirsensis. That Nova was coming together as an organized owned by Cartola himself, profitable; it same year, she recorded her LP Nara Leão, movement. She performed with such names closed its doors soon afterwards. It also where she sang Ernesto Nazareth's "Odeon" as João Gilberto, Luiz Eça, Ronaldo Bôscoli killed Bossa Nova in Brazil. with lyrics that Vinícius de Moraes had writ- (with whom she would have a love affair ten especially for her. The LP, released at and later become his fiancée), Carlos Lyra, Leão delivered passionate speeches against the Carioca nightclub Le Bilboquet, brought and others. At that time, she was a reporter Bossa Nova at the time, calling it an two of Veloso's compositions, ("Mamãe for Rio's newspaper “Última Hora”. "alienating" movement. At the same time, Coragem" and "Deus vos Salve Esta Casa the instrumental background of the show Santa", both with Torquato Neto) and ar- Her complacent parent’s ample apartment “Opinião” was pure Bossa, as can be heard rangements by Rogério Duprat, which in Rio's south side (zona sul), Copacabana, on a CD reissued in 1994, indicating that the helped establish a connection with Tropi- Posto 4, became a meeting place for musi- schism, at that time, was more ideological calia. She had decided to stay out of televi- cians, which led many to erroneously estab- than musical. In 1965, she presented Chico sion for an entire year, because of a disa- lish it as the Bossa Nova cradle (actually, Buarque with his songs "Pedro Pedrei- greement with the artistic shortsightedness the cradle was, to some extent, the Cantina ro" (strong social theme) and "Olê, Olá." of the producers. The following year, she do César, but even more appropriately, the Also that year, she participated in the moved to France and recorded another LP. Plaza nightclub around 1952). In 1963, she Teatro Opinião’s show “Liberdade, In 1971, she recorded Dez Anos Depois debuted as a professional, working in the Liberdade” (Freedom, Freedom), by Flávio (Polydor) in Paris and then returned to Bra- musical comedy “Pobre Menina Rica”, by Rangel/Millôr Fernandes. She also appeared zil. Vinícius de Moraes and Carlos Lyra. on Elis Regina/Jair Rodrigues' regular TV show “O Fino da Bossa”, which eventually The following year, she appeared in the film also had appearances by Chico Buarque, “Quando o Carnaval Chegar” (by Cacá That year she also had her debut in the Gilberto Gil, Caetano Veloso, Edu Lobo, Tom Diegues, her husband), together with Chico recording studios, singing "Naná" (Moacir Jobim, Vinícius de Moraes, and Ivan Lins. In Buarque and Maria Bethânia. In subsequent Santos), which was included in the Ganga 1966, she recorded her album Manhã de years, she began studying psychology in Zumba movie soundtrack, and Rei dos Liberdade (Philips). college, putting music aside. In that period, Palmares (Cacá Diegues). She recorded two she made only sporadic appearances on tracks on Carlos Lyra's LP “Depois do Carna- Defending Chico Buarque's "A Banda," with shows and albums for other artists, such as val” (Philips): marcha-rancho style "Marcha him at Record TV's FMPB II (1966, São Pau- Fagner. In the late '70s, she released her LP da Quarta-Feira de Cinzas" (Carlos Lyra/ lo), she won first place (together with Meus Amigos são um Barato (Philips, 1977), Vinícius de Moraes) and the samba-jazz "Disparada," by Geraldo Vandré and Théo with appearances by Tom Jobim, Carlos "Promessas de Você" (Carlos Lyra/Nelson de Barros). Leão recorded "A Banda," to- Lyra, Edu Lobo, Chico Buarque, Caetano Lins e Barros). Still in 1963, she toured gether with the first song composed by the Veloso, Gilberto Gil, Roberto Menescal, and Brazil, Japan, and France with Sérgio duo Gilberto Gil/Capinam, "Ladainha." The others. Upon learning she had cancer, she Mendes. When they toured the Northeast, following year, she sang, together with its returned with full impetus to her career, Leão was introduced by Roberto Santana to author, "A Estrada e o Violeiro" (Sidney Mil- recording another 11 LPs by 1988. In 1997, the so-called Vila Velha Gang, the baianos ler), at the FMPB III. The song was awarded she was the theme of the first play by re- Caetano Veloso, Gilberto Gil, Gal Costa, and for Best Lyrics. Between 1966 and 1967, she nowned moviemaker Júlio Brassane, “Vida- Maria Bethânia. Her first LP (Nara), recorded and Chico Buarque had a regular weekly TV Névoa-Nada”. by Elenco, launched sambista do morro show (“Pra Ver a Banda Passar”, TV Record). (sambista from the hill), Zé Keti, into the In 1966, she was almost framed by the War middle-class echelon with the great success department for violating the National Secu- of his song "Diz que Fui por Aí" (with H. rity Law due to a direct critique against the Source:https://www.allmusic.com/artist/ Rocha). She also reintroduced to that same military in an interview with the Carioca nara-le%C3%A3o-mn0000371530 circle the older sambista do morro, Cartola newspaper “Diário de Notícias” ("our mili- ("O Sol Nascerá," together with Elton tary forces are of no avail"). Medeiros). In addition to these two songs,

Roberto Menescal

“Born in October 25, 1937 (age 80)”

“O barquinho vai e a tardinha cai...”

oberto is a Brazilian composer, in the I Festival de Samba Session at producer,guitarist/vocalist, im- the Teatro de Arena theater of the R portant to the founding of Bossa School of Architecture at the State Nova. In many of his songs there are University of Rio de Janeiro. Such in- references to things related to the sea, formal venues were important vehi- including his best-known composition cles for Bossa Nova among the middle "O Barquinho" ("Little Boat"). He is -class university people who were also known for work with Carlos Lyra, more inclined to absorb and dissemi- Nara Leão, Wanda Sá, Ale Vanzella, nate it, and Menescal was instrumen- and many others. Menescal has tal for the promotion of such concerts performed in a variety of Latin music in 1959, 1960, and 1961. mediums, including Brazilian Popular Music ( MPB), Bossa Nova and Samba. In 1959, he had his first recorded composition, "Jura de Pombo" (with He was nominated for a Latin Grammy Ronaldo Bôscoli), by Alaíde Costa. for his work with his son's bossa group The composition "O Barquinho" (with Bossacucanova in 2002 and will Ronaldo Bôscoli), a Bossa Nova classic , man he worked with Lúcio Alves, receive the "2013 Latin Recording was simultaneously recorded by Maysa , Maysa, Claudette Soares, Nara Leão, Academy Special Awards" in Las Vegas Perry Ribeiro, and Paulinho Nogueira Jair Rodrigues, and Elis Regina), he in November 2013. in 1960. In 1962, he accompanied had several compositions of his Maysa in her Argentinean tour and, included in soundtracks of broadly The composer of Bossa Nova classics with Eumir Deodato's group, he per- popular TV soap operas and also like "O Barquinho," "Ah, Se Eu formed in Marlene's program on TV wrote music for the cinema (Bye Bye Pudesse," "Errinho à Tôa," "Nós e o Rio, having been hired for two years Brasil, Joana Francesa, both by Cacá Mar," "Rio," "Você," and "Vagamente," with his own group to back up artists Diegues, and Vai Trabalhar Vagabun- Roberto Menescal started his profes- on that TV station. do, by Hugo Carvana). sional career in 1957 as Sylvia Telles' sideman (on guitar) in a tour around In November 1962, he participated in In 1985, having accompanied Nara Brazil. In 1958, he opened a guitar the historic Bossa Nova Festival at Leão in performances in Brazil and school in Copacabana (Rio) with Carnegie Hall in New York, NY, with abroad, he launched with her the LP Carlos Lyra, having as his pupils Nara Tom Jobim, Carlos Lyra, and others, Um Cantinho, Um Violão/Nara Leão e Leão and his sister Danuza Leão. In the interpreting "O Barquinho" in one of Roberto Menescal. In the next year, he same year, he formed, with Luís Carlos his few performances as a singer. abandoned his career in A&R and Vinhas, João Mário, Henrique, and From 1964 to 1968, he worked as an dedicated himself to his solo career. Bebeto, the Roberto Menescal Group, arranger and, invited by André Midani, He has also been participating in jazz one of the first instrumental groups of he started to work as an independent projects, among others with Joe Bossa Nova. The group accompanied producer and arranger at PolyGram. In Henderson. In 2001, he participated Dorival Caymmi, Vinícius de Moraes, 1968, he accompanied Elis Regina in with Wanda Sá, Danilo Caymmi, and Billy Blanco, Maysa, and Telles. her performance at the MIDEM (Inter- Marcos Valle in the Fare Festival National Phonographic Market and (Pavia, Italy). Menescal also owns the Also in 1958, he participated, with Music Publishers) in Cannes, France, label Albatroz, which released albums Telles, Carlos Lyra, and other artists, in and in her subsequent European tour, by Danilo Caymmi, Emílio Santiago, a show at the Clube Hebraica (Rio), having been Regina's sideman until and others. when the words "Bossa Nova" were 1970, when he became PolyGram's used (inadvertently, by the club's A&R. Already established as a major Source: secretary) for the first time to adver- producer (having worked with Caetano https://everipedia.org/wiki/ tise the event. Having taken part with Veloso, Gilberto Gil, Jorge Ben Jor, Gal Roberto_Menescal/ his group in the recording of Garotos Costa, Maria Bethânia, and many da Bossa Nova in 1959, he participated others), instrumentalist (as a session

Baden Powel

“Born in August 6, 1937 -September 26, 2000”

“The Guitar Master”

Baden Powell is a Brazilian musician with a Le Grabuje””. In 1964, he returned to Brazil solid international reputation. A gifted instru- and recorded the LP À Vontade, which inclu- mentalist and composer, he bridges the gap ded a composition by Tom Jobim and between classical artistry and popular Vinícius, "Samba do Avião." He also wrote, warmth and was a key figure in the Bossa that year, the samba "Berimbau" with lyrics Nova movement. Born in the Varre Sai in the by Vinícius. More of the duo's compositions state of Rio de Janeiro. When he was only that year were "Além do Amor," "Valsa sem four months his family moved to the city of Nome," "Deve ser Amor," "Canção do Amor Rio de Janeiro. His father, the violinist, Lino Ausente," "Consolação," "Deixa," "Amei de Aquino, promoted regular get-togethers Tanto," "Tempo Feliz," and "Samba da (rodas) of chorões at his home, where many Bênção." The latter was included in Claude of Rio’s famous names used to play, such as Lelouch's movie “Un Homme et une Femme”, Pixinguinha, his brother China, the sambista under the title "Samba Saravah." Donga, and so many others. At eight, his father took him to Rádio Nacional where Pow- Traveling to Bahia, Powell stayed there for six ell met Meira (Jaime Florence), a famous months and researched the Afro traditions violinist and at the time a member of Bene- developed on Brazilian soil, especially the dicto Lacerda's regional. Powell would study musical tradition emanating from the ancient guitar with him for five years. sorcery rituals of candomblé and umbanda. The next phase of his compositional associa- Through Meira, a broad-minded musician, he tion with Vinícius would be called by Powel- discovered classics such as Segovia and las the Afro-sambas, mirroring the findings of Hall and Barney Kessel. In 1968, a novice Tarrega, along with Brazilian masters such as that period: 1965's "Tristeza e Solidão" and Paulo César Pinheiro composed with Powell Garoto and Dilermando Reis. At nine, he pre- "Bocoché" and 1966's "Canto do Xangô" and the samba "Lapinha," which was presented sented himself at Renato Murce's show "Canto de Ossanha," the latter recorded by by Elis Regina at the TV Record's first Samba “Papel Carbono” on Rádio Nacional, winning Elis Regina in 1966 with great success. Taking Biennial, winning first place. The duo would first place as a guitar soloist. At 13, he used to Bahian folklore, Powell added his Carioca also compose, among others, "Cancioneiro," run from school, earning his first cachets at touch, bringing the Afro tradition a more "Samba do Perdão," "Meu Réquiem," "É de the neighborhood parties. After finishing high Brazilian feeling. In 1999, Powell, recently Lei," "Refém da Solidão," "Aviso aos Nave- school, he joined the cast of Rádio Nacional converted, regretted and deplored the Afro- gantes," and "Carta de Poeta." Also from as an accompanist. At that time, he traveled samba phase as "devil's music" in a contro- 1968 is the LP Baden Powell (Elenco) with the through Brazil with the radio's singers. In verted and disappointing interview. famous "Manhã de Carnaval" or "Carnival," 1955, he joined Ed Lincoln's trio, playing jazz by Luís Bonfá and Antônio Maria, and the at the Plaza nightclub. The place was a focal In 1965, fundamental singer Elizeth Cardoso show “O Mundo Musical de Baden Powell”. point for musicians, journalists, and aficiona- presented Powell/Vinícius' "Valsa do Amor dos interested in jazz. It should be regarded que Não Vem" at the first Festival of Brazilian In 1969, he recorded Vinte e Sete Horas de as the second place where Bossa Nova was Popular Music (TV Excelsior), São Paulo, win- Estúdio (Elenco). The following year in Paris, being generated (the first being Cantina do ning second place. The following year, Aluísio he recorded for Barklay the three-album box César, after Johnny Alf's first appearances), de Oliveira produced another album by set Baden Powell Quartet and the LP Baden contrary to the common notion of Bossa be- Powell, this time for his own landmark label Powell, which had Pixinguinha's songs. ing born at Zona Sul (South side's) apart- Elenco, that deeply engaged the best musi- For Elenco, he recorded the LP Estudos. ments. cians, leaving the commercial side in the In 1972, he recorded for Philips the LP É de background; unfortunately, it caused the Lei. Solitude on Guitar was recorded the At that time, Powell began to compose "Deve excellent label's demise some years later. following year in Germany and in 1974, he Ser Amor," "Encontro Com a Saudade," "Não Taking advantage of the Brazilian tour of recorded in Paris the live LP Baden Powell é Bem Assim," and his first big hit, 1956's Caterina Valente, who was being accompa- (Barklay/RGE), and in 1975 recorded the LP "Samba Triste," with lyrics by Billy Blanco nied by drummer Jimmy Pratt, de Oliveira Baden Powell Trio & Ópera de Frankfurt. He which would be recorded by Lúcio Alves in took him and recorded Baden Powell Swings then moved to Baden-Baden (Germany), 1960. In 1962, he met his future partner, With Jimmy Pratt. Also that year, TV Excelsior staying there for four years. In 1994, already Vinícius de Moraes, a composer, poet, singer, promoted the National Festival of Popular living in Brazil again, he released the record and diplomat. Their first song was "Canção Music, where novice Milton Nascimento won Baden Powell de Rio à Paris and in that same de Ninar Meu Bem," a great success from the fourth place with "Cidade Vazia" (Powell/Lula year, he performed together with his sons, beginning. Following that, they came up with Freire) and Powell with Vinícius recorded Louis Marcel (guitar) and Phillipe (piano), at "Samba em Prelúdio" (recorded in 1962 by their Afro-sambas "Canto de Xangô," "Canto the Cecília Meireles Hall in Rio, with the Geraldo Vandré / Ana Lúcia), "Consolação" de Iemanjá," and "Canto de Ossanha" for concert recorded and released on a CD, titled (recorded by Nara Leão), "Samba da Forma, along with "Berimbau" and "Samba Baden Powell & Filhos, through CID. In 1995, Bênção," "Tem Dó," "Só por Amor," "Bom da Bênção." He also spent some time with his concert at the Montreux Festival was Dia, Amigo," "Labareda," and "Samba do Elis Regina at Rio's nightclub Zum-Zum. The recorded on CD under the title Baden Powell Astronauta" (recorded by Powell in 1964). At LPs O Mundo Musical de Baden Powell Live in Montreux. Also that year, he was this point, Powell was already a renowned (Barclay/RGE), recorded in France; Baden awarded with the Prêmio Shell for his musician and composer, with good connec- Powell ao Vivo no Teatro Santa Rosa (Elenco); complete works. In 1996, he toured in France tions on the artistic scene and wide exposure and Tempo Feliz(Forma/Philips) were all rec- with Brazilian accordionist Sivuca and in the media. That year, he accompanied orded in 1966. During that period, he played recorded the CD Baden Powell Live at the Rio Sílvia Telles on her famous show at the Jirau in the U.S. with Stan Getz. Jazz Club. After spending several weeks in the nightclub. In 1963, he recorded his first LP, hospital, Baden Powell died on September Um Violão na Madrugada (Philips). Later that In 1967, he recorded in Paris, France, the al- 26, 2000, at the age of 63. year, he traveled to Paris where he presented bum “O Mundo Musical” No. 2, accompanied himself at the Olympia theater with great by the Paris Symphonic Orchestra. That year, Source: Source: https://www.allmusic.com/ success, using a repertoire of classical music his “O Mundo Musical” de Baden Powell was artist/baden-powell-mn0000765585/ and his own compositions. He also played awarded the Golden Record in Paris and he biography regularly at the Bilboquet nightclub and performed at the Jazz Festival in Berlin, composed the soundtrack to the movie Germany, with American jazz guitarists Jim

Sergio Mendes

“Born in February 11, 1941 ”(age 77)

“Mais Que Nada”

attracting too much notice at first. In orn the son of a physician in 1966, however, Mendes and his band -- Niteroi, Brazil, Mendes began renamed Brasil '66 -- were signed to Bstudying music at the local conservato- A&M Records and something seemed to ry while still a boy, with the intention of click between the group and its audi- becoming a classical pianist. He was ence. The group, consisting in its first living in Rio de Janeiro as the Bossa A&M incarnation of Mendes on key- Nova craze hit in the mid- to late '50s, boards, Bob Matthews on bass, João and at age 15, he abandoned classical Palma on drums, Jose Soares as music in favor of Bossa Nova. Mendes percussionist, Lani Hall (aka Mrs. Herb began spending time with other young Alpert and A&M's co-founder) on vocals, Brazilian musicians in Rio de Janeiro, and Janis Hansen on vocals, was suc- absorbing the musical ferment around cessful upon the release of its first him in the company of such figures as album for the label, with its mix of Light Antonio Carlos Jobim and João Gilber- Jazz, a Bossa Nova beat, and contem- to. Their company was augmented by porary Soft Pop melodies. the periodic visits of American jazz gi- Their self-titled debut LP rose to num- ants such as Stan Getz, Dizzy Gillespie, ber six nationally, propelled by the "Chelsea Morning" and Stephen Stills' Charlie Byrd, Paul Winter, Roy Eldridge, presence of the single "Mas Que Nada." "For What It's Worth," and Primal and Herbie Mann. Mendes became the Their second album, Equinox, yielded a Roots, an album of traditional Brazilian leader of his own group, the Sexteto trio of minor hits, "Night and Day," music, failed to make any impression Bossa Rio, and was heard with them by "Constant Rain (Chove Chuva)," and on the charts whatsoever. The group many visiting musicians. He made his "For Me," but their third, Look Around, moved to the much smaller Bell first recording, Dance Moderno, in 1961 rose to number five behind a number Records label in 1973, and then Mendes on the Philips Records label. By 1962, three single off the group's version of jumped to Elektra for his first official Mendes and his band were playing at the Beatles' "Fool on the Hill" and an solo album, Sergio Mendes. Birdland in New York in an impromptu accompanying hit with "Scarborough performance with Cannonball Adderley Fair," based on the Simon & Garfunkel (who was officially on the bill). Mendes version of the folk song. Crystal Illu- He re-launched his recording career and Adderley cut an album together for sions, from 1969, featured a version of two years later with Sergio Mendes & Capitol Records which was released Otis Redding’s "(Sittin' On) The Dock of Brasil '77 to little avail, and then, after a later that year. the Bay" and the hit single "Pretty five-year absence from the public eye, World." Depending upon one's sensibili- Mendes returned to A&M in 1982. His For most of the second half of the ties, these covers -- especially "Fool on 1983 comeback album, Sergio Mendes, 1960s, Sergio Mendes was the top- the Hill" and "Scarborough Fair" -- were was his first Top 40 album in nearly a selling Brazilian artist in the United either legitimate, internationalized pop decade and a half, and was accompa- States, charting huge hit singles and versions of the originals, or they were nied by his biggest chart single ever, LPs that regularly made the Top Five. "elevator music." During this period, "Never Gonna Let You Go," which hit His records with his group, Brasil '66, Mendes also made several recordings number four. Since then, Mendes has regularly straddled the domestic pop for Atlantic Records separate from his had limited chart success with the and international markets in America, A&M deal, principally aimed at a Light single "Alibis" and the LP Confetti. He getting played heavily on AM radio Jazz audience, and several of them in remained a popular figure internatio- stations, both rock and easy listening, association with Jobim. Art Farmer, Phil nally, even when his record sales and he gave his label, A&M, something Woods, Hubert Laws, and Claire Fisher slumped in America, as evidenced by to offer light jazz listeners beyond the were among the Jazz figures who the fact that his entire A&M catalog work of the company's co-founder, appeared on these records, which never (and much of his Atlantic work) from Herb Alpert. During this period, he also remotely attracted the same level of the '60s has been reissued on CD in became an international music star and interest or sales as his records with Japan. Indeed, his popularity in the rest one of the most popular musicians in Brasil '66. Mendes successfully walked a of the world, versus America, was even South America. fine line between international and the basis for a comic vignette in one domestic audiences for most of the late episode of the television series Seinfeld. His early music, represented on albums '60s until the end of the decade. During the '90s, Mendes performed with like Bossa Nova York and Girl from a new group, Brasil '99, and more Ipanema, was heavily influenced by recently, Brasil 2000, and has been inte- Antonio Carlos Jobim, on whose Ye -Me-Le was notably less successful grating the sounds of Bahian hip-hop recording Mendes worked. Mendes than its predecessors, and its single, into his music. liked what he had found on his visit to "Wichita Lineman," was only a minor hit. Mendes seemed to lose his com- New York, and in 1964 he moved to the Read more: United States, initially to play on mercial edge with the turn of the albums with Jobim and Art Farmer, and decade, and his next two A&M albums: formed Brasil '65 the following year. Stillness, a folk-based collection that https://en.wikipedia.org/wiki/ The group recorded for Capitol without contained versions of Joni Mitchell's Sérgio_Mendes

In Brazil Bossa Nova was never a fad, and it never really went away. Its distinctive rhythmic syncopation and cool sense of calmness have influenced the development of popular music, both in Brazil and elsewhere, for generations. Like so many cultural products of the New World, Bossa is a true hybrid, blending a rhythm rooted in Africa (the samba) with the complex harmonies of Western classical music and jazz.

Bossa Nova Second Generation

In the mid-1960, a group formed by Marcos Valle, Dori Caymmi, Edu Lobo, and Francis Hime sought to reconnect Bossa Nova to Samba, the Baião and the northeastern Xote.

ANOTHER CHAPTER Madalena Sousa Editor In Chief

Sources & Credits

http://jazzstation-oblogdearnaldodesouteiros.blogspot.com/2015/02/a-legendary-concert-by-joao-gilberto.html https://brasilescola.uol.com.br/artes/bossa-nova.htm https://oglobo.globo.com/cultura/musica/artigo-sessenta-anos-de-cancao-do-amor-demais-album-que-juntou-jobim- joao-vinicius-elizeth-22569270 https://acervo.estadao.com.br/noticias/acervo,desorganizacao-prejudicou-bossa-nova-no-carnegie-hall,7327,0.htm http://web.archive.org/web/20070922021855/http://daniellathompson.com/Texts/Reviews/Bon_Gourmet.htm http://memorialdademocracia.com.br/page/a-era-do-radio http://acousticguitar.com/how-bossa-nova-made-a-mark-on-popular-music/ http://www.ufrgs.br/alcar/encontros-nacionais-1/encontros-nacionais/6o-encontro-2008-1/MUSICA%20E%20DISCO% 20NO%20BRASIL.pdf http://bossanovaproject.us/Mini-Exhibits/exhibits/11.html https://www.publico.pt/2008/08/24/jornal/o-ano-em-que-a--bossa-tomou-o-rio-273494 https://sites.jmu.edu/fandtinbrazil/bossa-nova/ http://www.luizamerico.com.br/fundamentais-orfeu_.php http://www.jornaldaorla.com.br/noticias/35919-a-bossa-nova-no-carnegie-hall-1962/

Brazilian Music Foundation.Org Asuos Productions, Inc. Madalena Sousa/Founder of Bossa Magazine/Editor In Chief/Graphic Designer Cristine Adoinet—Assistant/ English Proofreader

Top Bossa Nova Songs to Add to Your Playlist Right Now

Chega de Saudade (Tom Jobim/ Vinicius de Moraes) – João Gilberto Samba de uma Nota Só (Tom Jobim/ Newton Mendonça) – Nara Leão Desafinado (Tom Jobim/ Newton Mendonça) – João Gilberto Garota de Ipanema (Tom Jobim/ Vinicius de Moraes/ Norman Gimbel) João Astrud Gilberto, Stan Getz & Tom Jobim O Barquinho (Roberto Menescal/ Ronaldo Bôscoli) – Maysa Influência do Jazz (Carlos Lyra) – Carlos Lyra Manhã de Carnaval (Luis Bonfá/ Antonio Maria) – Agostinho dos Santos, Luis Bonfá & Quarteto de Oscar Castro Neves Batida Diferente (Durval Ferreira/ Mauricio Einhorn) – Tamba Trio Minha Namorada (Carlos Lyra/ Vinicius de Moraes) – Os Cariocas Berimbau (Baden Powell/ Vinicius de Moraes) – Baden Powell Lobo Bobo (Carlos Lyra/ Ronaldo Bôscoli) – Carlos Lyra Corcovado (Quiet Nights of Quiet Stars) (Tom Jobim/ Gene Lees) – Tom Jobim & Frank Sinatra Insensatez (Tom Jobim/ Vinicius de Moraes) – Tom Jobim Dindi (Tom Jobim/ Aloysio de Oliveira) – Sylvia Telles Ela É Carioca (She is a Carioca ) - ( Tom Jobim/ Vinicius de Moraes) – Sérgio Mendes & Sexteto Bossa Rio Balanço Zona Sul ( Tito Madi) – Zimbo Trio Sonho de Maria (Marcos e Paulo Sérgio Valle) – Tamba Trio Samba do Avião (Tom Jobim) – Eumir Deodato Amazonas (João Donato e Lysias Ênio) – João Donato Mas Que Nada (Jorge Ben Jor) – Jorge Ben Jor Aguas de Março (March Water) - (Tom Jobim ) and Elis Regina

More Characteristics of Bossa Nova

Among the singers, the most important were not only dissonant: it was also based on in- Johnny Alf, born in 1929, and Dick Farney verted chords, creating new harmonic (1921-1987). Both were jazz fans and also threads. In traditional harmony, the first recorded in English. Johnny Alf, who in addi- note of a chord, the tonic, corresponds to the tion to being a singer and a pianist, was base note, that is, to the lowest note. In an already intimate with the dissonant harmo- inverted chord, a note other than the tonic nies of the genre. As for Dick Farney, he knew can be repeated. the entire repertoire of American standards in his “Jazzística” rereads. Lyrics Lucio Alves (1927-1993), who recorded the well-known "Tereza da Praia" with Farney, is With Bossa Nova, the lyrics also changed. another predecessor of Bossa Nova. Orlando The tone became more colloquial, spontane- authentic sound. Using a nylon-string guitar Silva, although not directly associated with ous, and direct, without the use of meta- of reasonable quality is ideal, although the Bossa Nova, was a great influence on João phors. The greatest lyricist of Bossa Nova rhythms can be learned on any guitar. The Gilberto, who admired him "for a character- was Vinícius de Moraes (1913-1980), poet of chords are fingered with the left hand and istic: the second time he sang a song, prestige and author of sophisticated verses. the rhythms are created by the thumb and Orlando inserted anticipations and delays Vinicius was a lyricist who sought simplicity. fingers of the right hand. No picks are used. that were not in the original Melody", says The two songs that were true Bossa Nova Ideally, one should have nails on the fingers the scholar Zuza Homem de Mello. Perhaps proclamations, however, were authored by of the right hand, as required in classical the most important and characteristic Newton Mendonça (1927-1960). guitar technique. The combination of the element of Bossa Nova is rhythm. flesh and nails of the fingers will produce a In"Desafinado", he names the new trend: "If warm, "bright" sound. As a general rune in The novelty of João Gilberto's guitar beat is you insist on classifying / my anti-musical Bossa Nova accompaniment, the thumb of syncopation, which emphasizes the weak behavior / I even lied, I should argue / that the right hand plays the "bass notes" on the beat of a measure, provoking musical this is Bossa Nova, this is very natural." In A(5th) and E(6th) strings, and the remaining tension (as opposed to the emphasis on the “Samba de uma nota só” he uses the music chord tones are played by the combination strong beat, as in traditional samba, which as a metaphor - the melody illustrates what of the first, second, and third fingers of the creates a sensation of rest). At times, Joao the lyrics are saying – he shows the right hand pulling any three adjacent strings Gilberto's playing also broke the "strong- "construction" of a Bossa Nova. Newton simultaneously. weak" hierarchy of the beat, without accen- Mendonça was also an excellent pianist and tuating either. In either case, it is this shift to co-authored these hits, along with Tom Its purest form could be considered unac- accenting the weak beat that is responsible Jobim. companied guitar with vocals, as created, for the peculiar balance of Bossa Nova. pioneered, and exemplified by João Gilberto. Even in larger, jazz-like arrangements for groups, there is almost always a guitar that Harmony Instruments plays the underlying rhythm. Gilberto basically took one of the several rhythmic layers Bossa Nova gave way to dissonant chords, The guitar is unquestionably the most from a samba ensemble, specifically those that use notes strange to traditional popular and widespread instrument in all of the tamborim, and applied it to the picking harmony. Many of them were brought from Latin America, including Brazil. This is hand. According to Brazilian musician Paulo jazz. Other harmonic combinations were perhaps because of its portability, relative Bitencourt, João Gilberto, known for his ec- created by Tom Jobim. Before the Bossa inexpensive, and its ability to accompany the centricity and obsessed by the idea of finding Nova, the base was a perfect chord, which, voice with chords. Unlike the steel-string a new way of playing the guitar, often locked being consonant, fulfilled the function of variety popular in North America, the most himself in the bathroom, where he played giving harmonic stability to the music. common type of guitar to be found in Latin one and the same chord for many hours in a countries is the acoustic nylon-string or row. "classical" guitar, known in Brazil as the "violão". The nylon strings produce a soft, Singing rich tone which has become the hallmark of Drums and percussion the Bossa Nova sound. A standard Bossa The way to use the voice is also a character- Nova group might include guitar (acoustic or As in samba, the surdo plays an ostinato istic of Bossa Nova. It is not just a matter of electric), piano (or keyboard), bass (acoustic figure on the downbeat of beat one, the "ah" "singing softly", in an intimate way, some- or electric), drumset, wind instruments of beat one, the downbeat of beat two and thing that was made possible by the appear- (flute, trombone, sax, trumpet, etc.), strings, the "ah" of beat two. ance of higher quality microphones. Mario and voice. Often, however, the guitar will be Reis also sang like this and did not sing heard by itself accompanying the voice or The clave pattern sounds very similar to the Bossa Nova. being played alone as a solo instrument. two-three or three-two son clave of Cuban Most of the composers mentioned thus far styles such as mambo but is dissimilar in The most important thing is that the Bossa are guitarists. that the "two" side of the clave is pushed by Nova singer is not limited to the rhythmic an eighth note. Also important in the percus- structure. He may anticipate or delay in rela- This gives an indication of how important sion section for Bossa Nova is the cabasa, tion to the measure, stretching or shortening the instrument is in the Bossa Nova. One which plays a steady sixteenth-note pattern. notes. At first, it was thought that the orches- composer who has exploited the guitar as a These parts are easily adaptable to the drum tra went to one way and the singer went solo instrument is Baden Powell (not the Boy set, which makes Bossa Nova a rather popu- another. Not only did the lay people find it Scout man!) João Gilberto is most noted for lar Brazilian style for drummers. strange, traditional musicians also did not his style of accompaniment and guitar/vocal understand Bossa Nova. After the initial im- interaction. Lyrics are usually sung in Portu- pact, however, this way of singing became guese, the language of Brazil, although many http://www.laguitarra-blog.com/wp- more and more accepted. English translations do exist, particularly for content/uploads/2012/01/bossa-for- the music of Antonio Carlos Jobim. guitar.pdf With sequences of these chords it was possible to compose any popular song. But they Basic accompaniment is not very technically were insufficient for Bossa Nova, their demanding, but there are a few important interpreters, and composers, who had to points to keep in mind in order to create an resort to new chords. This new harmony was

Music Sheets link—Joao Gilberto

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