Bossa Nova: “The Girl From Ipanema” with Frank Sinatra

Bossa Nova, which had been developing since 1962, was firmly established with the album Getz/Gilberto – a collaboration between Stan Getz and João Gilberto, featuring Antonio Carlos Jobim.

Album Recognition

I do not recall seeing anything significant in the Brazilian media regarding the 50 years since the release of this album, which entered history as one of the main emissaries of Bossa Nova in the United States. This is an important part of the History of Bossa Nova.

Production and Collaboration

Under the guidance of producer Creed Taylor, saxophonist Stan Getz gathered João Gilberto, his wife Astrud, and Tom Jobim for the recordings of this true gem: Stan Getz / João Gilberto. There are just under thirty-four minutes of engaging and affectionate music, which are part of the History of Bossa Nova.

Cultural Impact

This album, despite being superb and having received several certificates of “desert island album”, was not responsible for the arrival of the sunny Brazilian rhythm in Yankee lands, but rather for consolidating it as a true craze among jazz aficionados. Even so, it belongs to the category of eternal masterpieces, without any shadow of exaggeration, contributing to the History of Bossa Nova.

Arrival of Bossa Nova in the USA

In fact, Bossa Nova had already arrived in the United States a few years before 1964. The first signs of the rhythm on American soil appeared with the success of the French film Orfeu da Conceição, based on the play written by Vinícius de Moraes, which featured compositions by him and Tom Jobim in its soundtrack, as early as 1960. This is part of the rich History of Bossa Nova.

“The Girl From Ipanema”

Videos about the album that brought Bossa Nova to the world mark 50 years, such as the performance by Astrud Gilberto & Stan Getz of “The Girl From Ipanema” from 1964, and the version by Frank Sinatra. The album Getz/Gilberto includes several tracks with English lyrics, especially the interpretations of “The Girl From Ipanema” and “Corcovado”, helping to popularise Bossa Nova outside Brazil and enriching the History of Bossa Nova.

João Gilberto’s Releases

That same year, João Gilberto released his second album, O Amor, O Sorriso e a Flor, following the masterful debut of Chega de Saudade, released a year earlier. João Gilberto was, quite simply, polishing the foundational stones of the style, with the participation of Tom Jobim in the arrangements, thus contributing to the History of Bossa Nova.

Album Trilogy

The third and final part of this trilogy would come in 1961, with the self-titled album. In this context, American musicians came to Brazil at the same time for shows and were duly introduced to Bossa Nova. Artists such as Ella Fitzgerald and flautist Herbie Mann realised that there was a tropical cousin of Jazz there, something new, refreshing, and absolutely capable of being appreciated in America, forming part of the History of Bossa Nova.

The Spread of Bossa Nova

In 1962, the disc-jockey from Washington DC, Felix Grant, came to Rio and returned stocked with Bossa Nova LPs, which he included without further ado in his radio programme. As his programme had significant reach among musicians and jazz lovers, Bossa Nova would soon be on the agenda, marking another chapter in the History of Bossa Nova.

Jazz Context

Jazz was facing a crisis. It was a rhythm essentially associated with youth, who had fallen in love with Rock. Simpler and more direct, with lyrics, attitude, and discourse packaged, the new rhythm surpassed the improvisations and sonic metaphors of jazz, influencing the History of Bossa Nova.

Musical Renewal

Bossa Nova emerged as a possibility for the renewal of Jazz and its popularisation, something that had become almost impossible in those days. The first major album by an American musician to use the language of the new style was Jazz Samba, released by saxophonist Stan Getz and guitarist Charlie Byrd. Of the seven tracks on the album, two are by Tom (“Desafinado”, “Samba de Uma Nota Só”), two by Ary Barroso (“Bahia” and “É Luxo Só”), in addition to the partnership of Billy Blanco and Baden Powell (“Samba Triste”) and the classic “O Pato”, by Jayme Silva and Neuza Teixeira, all contributing to the History of Bossa Nova.

Charlie Byrd’s Success

Charlie Byrd wrote “Samba Dees Days” as the only non-Brazilian song to feature on the album. The success was resounding, and the news reached Brazilian musicians, who decided to see what was happening there, adding another element to the History of Bossa Nova.

Carnegie Hall Show

The new musical wave also caught the attention of American entrepreneurs, and soon a show was organised at Carnegie Hall in New York, featuring artists minimally related to the style. Among them were the key figures: Tom, João, Carlos Lyra, Newton Mendonça, Luis Bonfá, Sérgio Mendes, Roberto Menescal, and Agostinho dos Santos, famous for his participation in the soundtrack of Orfeu da Conceição, singing “Manhã de Carnaval”, the song that opened the film. The show was a failure but helped consolidate Bossa Nova as a phenomenon of Pop, known there as “New Beat”, a significant event in the History of Bossa Nova.

The Image of Bossa Nova

Before long, the rhythm was understood and sold as something very modern, associated with the image of the couple Jackie and John Kennedy, in an ingenious mechanism of political/social/cultural renewal, which became part of the History of Bossa Nova.

Continuity of the Style

New albums of interpretations of songs by Brazilian artists continued to emerge, until Tom Jobim himself, uncomfortable with the English versions of the lyrics, realised that no Brazilian musician had signed a solo album there, a situation reflecting the impact on the History of Bossa Nova.

The Impact of “The Composer Of Desafinado Plays”

Before long, the essential The Composer Of Desafinado Plays emerged, featuring beautiful, light, airy, and beachy instrumentals, something absolutely better and more appropriate than the foreign versions of Bossa songs, with the guitar of João Gilberto, which made all the difference. The recognition came in the form of a Grammy for Best Album of 1963, opening the doors for this fiftieth-anniversary album we are discussing, which is a crucial part of the History of Bossa Nova.

Explosion on the Charts

In 1964, Astrud Gilberto & Stan Getz exploded onto the charts, despite their clean and tranquil sound. The alternative to Jazz, hermetic and intricate, emerged in the form of beautiful and light music, but of undeniable artistic value, which contributed to the History of Bossa Nova.

The Simplicity of Bossa Nova

This was, in fact, the great fact that enchanted audiences and American musicians: Bossa Nova was undeniably “easy”, melodic, but also virtuous and “artistic” enough to carry the revolutionary and libertarian aura that Jazz has always brought, standing out in the History of Bossa Nova.

The Lasting Partnership

Despite various imitators and opportunists that emerged between 1961 and 1964, the partnership between Stan Getz and João Gilberto, supported by Tom Jobim and Astrud Gilberto, remains untouched by the passage of time, a testament to resilience in the History of Bossa Nova.

Awards and Recognition

The album would win the Grammy for Best Album the following year, as well as awards for Best Jazz Album and Best Engineering. The version with English lyrics for “The Girl From Ipanema” would be awarded Record of the Year, marking another success in the History of Bossa Nova.

The Musical Legacy

Only in 2008 would another jazz album win the Grammy for Best Album of the Year, in this case, River: The Joni Letters, by Herbie Hancock. The magazines Vibe and Rolling Stone included the album among the 500 most important of the twentieth century, further solidifying its place in the History of Bossa Nova.

Compilation of Recordings

Few know that the duo released another album in 1966, Getz/Gilberto #2, which features a compilation of live recordings at Carnegie Hall, made in 1964, with one side for each style, with Bossa Nova taking the B side, featuring English versions of standards like “O Pato”, “Corcovado”, “Você e Eu”, and the iconic “Garota de Ipanema”, all contributing to the History of Bossa Nova.

New Project in 1976

The partnership between them also resulted in another project in 1976, with the release of The Best Of Both Worlds, following the same collaborative work model, with English lyrics and entirely jazz instrumental, representing another phase in the History of Bossa Nova.

50th Anniversary Edition

The album from 1964, however, remains intact. It received a special 50th anniversary edition, with both stereo and mono versions of the immaculate recordings. It is a must-have work for any serious music lover, consolidating its importance in the History of Bossa Nova.

Origin of the Term “Bossa Nova”

The term “Bossa Nova” has its roots in the Portuguese language, and its origin is somewhat colloquial. The word “bossa” refers to a type of talent or skill, while “nova” means something new. Thus, the expression can be interpreted as “new skill” or “new way”, reflecting the innovation and freshness that characterised the musical movement.

Bossa Nova emerged in the late 1950s in Brazil, more specifically in Rio de Janeiro, as an evolution of traditional samba, incorporating elements of jazz and classical music. This style distinguished itself by its smoothness, sophisticated harmony, and poetic lyrics, often addressing themes of everyday life, love, and nature, frequently with a touch of melancholy.

Representing a new era in Brazilian music, Bossa Nova not only introduced a new sound but also reflected a spirit of modernity and cultural renewal in Brazil. Composers and performers such as João Gilberto, Tom Jobim, Vinícius de Moraes, and Astrud Gilberto helped popularise the genre, which gained international recognition and influenced many musicians worldwide, shaping the History of Bossa Nova.

Bossa Nova became a symbol of Brazilian culture, expressing a relaxed and sophisticated Carioca lifestyle, and continues to be an important reference in popular Brazilian and global music.

Cultural Influence

Bossa Nova had a significant impact on various musical genres, including Pop, MPB (Música Popular Brasileira), and even Rock. Contemporary artists such as Caetano Veloso and Gilberto Gil incorporated elements of Bossa Nova into their works, demonstrating the lasting influence of this style in the History of Bossa Nova.

Historical Context

Bossa Nova emerged in a Brazil undergoing social and political changes. The post-Second World War period brought a desire for modernisation and a new cultural identity, and Bossa Nova became an expression of that spirit of renewal, being a vital part of the History of Bossa Nova.

Legacy

The legacy of Bossa Nova is vast, with many current artists, such as Norah Jones and Diana Krall, citing Bossa Nova as one of their influences. The style continues to be rediscovered and reinterpreted worldwide, perpetuating the History of Bossa Nova.

Other Important Tracks

In addition to “Garota de Ipanema”, the album “Getz/Gilberto” contains other iconic tracks, such as “Corcovado” and “Desafinado”, which also helped define the sound of Bossa Nova and deserve recognition for their contributions to the History of Bossa Nova.

Critical Reception

At the time, critics praised the fusion of rhythms and the harmonic sophistication of Bossa Nova, recognising it as a natural evolution of Jazz and a new musical language that resonated with audiences, contributing to the History of Bossa Nova.

Brief Biographies

• João Gilberto: Born on 10th June 1931 and passed away on 6th July 2019, he is considered the father of Bossa Nova. His unique approach to guitar and his smooth voice were fundamental to the development of the genre, which is a significant part of the History of Bossa Nova.
• Tom Jobim: Born on 25th January 1927 and passed away on 8th December 1994, Jobim was a composer, pianist, and arranger, being one of the most important figures in Brazilian music, known for his memorable melodies and poetic lyrics, which left a mark on the History of Bossa Nova.
• Astrud Gilberto: Born on 29th March 1940, Astrud became one of the most recognised voices of Bossa Nova, especially after her collaboration with Stan Getz, which launched her into international stardom and solidified her place in the History of Bossa Nova.

When Bossa Nova conquered the world – History of Bossa Nova

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