At the end of the Fifties, Antonio Carlos Jobim, Vinicius de Moraes and Joao Gilberto breathed a new sensitivity into the atmosphere of Rio de Janeiro: they introduced samba rhythms into the city's tristeza and felicidade. A new kind of music was born, one that bore a relationship to spleen, a kind of moody feeling, yet it showed glimmers of hope that mingled with a 'cool' spirit relying on syncopated and relaxed rhythms. New winds began to blow over the music of Brazil. All that was needed were a few albums from Rio (such as Chega de Saudade by Joao Gilberto), the film Orfeo Negro directed by Marcel Camus (it received the Palme d'Or Award at the 1959 Cannes Film Festival), plus the curiosity of a dozen American jazz musicians, for Bossa Nova to become a music style that would completely dominate the first half of the Sixties. The sincerity of Brazil's music, of course, seemed eclipsed inside American arrangements whose subtleties were still hesitant in 1962, but the contribution of Bossa Nova to the jazz of that period could not be ignored. Jazz owes it's richness to the vitality of the exchanges between it's musicians, even if some people saw the Bossa Nova played in New York as taking a too northerly direction, or being too 'American'. But listening to these four sides ? recorded in the space of just four years ? reveals how much those exchanges made jazz music even richer.
At the end of the Fifties, Antonio Carlos Jobim, Vinicius de Moraes and Joao Gilberto breathed a new sensitivity into the atmosphere of Rio de Janeiro: they introduced samba rhythms into the city's tristeza and felicidade. A new kind of music was born, one that bore a relationship to spleen, a kind of moody feeling, yet it showed glimmers of hope that mingled with a 'cool' spirit relying on syncopated and relaxed rhythms. New winds began to blow over the music of Brazil. All that was needed were a few albums from Rio (such as Chega de Saudade by Joao Gilberto), the film Orfeo Negro directed by Marcel Camus (it received the Palme d'Or Award at the 1959 Cannes Film Festival), plus the curiosity of a dozen American jazz musicians, for Bossa Nova to become a music style that would completely dominate the first half of the Sixties. The sincerity of Brazil's music, of course, seemed eclipsed inside American arrangements whose subtleties were still hesitant in 1962, but the contribution of Bossa Nova to the jazz of that period could not be ignored. Jazz owes it's richness to the vitality of the exchanges between it's musicians, even if some people saw the Bossa Nova played in New York as taking a too northerly direction, or being too 'American'. But listening to these four sides ? recorded in the space of just four years ? reveals how much those exchanges made jazz music even richer.
3760300310953
Jazz Bossa Nova / Various (Uk)
Artist: Jazz Bossa Nova / Various
Format: Vinyl
New: Not in stock
Wish

Available Formats and Editions

DISC: 1

1. O Nosso Amor, Joao Gilberto 2?22
2. O Barquinho, Maysa 2?18
3. Feiticaria, Johnny Alf 2?39
4. Chega de Saudade, Elizete Cardoso 3?27
5. Manha Do Carnival, Elizete Cardoso, Luis Bonfà 3?16
6. Meditaçao, Maysa 2?57
7. A Felicidade, Agostinho Dos Santos 2?45
8. Recado Bossa Nova, Zoot Sims ; His Orchestra 2?35
9. Groovy Samba, Herbie Mann with Sergio Mendes ; Bossa Rio 5?08 1
10. Desafinado, Stan Getz, Charlie Byrd 5?51 1
11. Copacabana, Klaus Doldinger 2?08 1
12. One Note Samba, Sergio Mendes Sextet 3?30 1
13. Clouds, Cannonball Adderley ; the Bossa Rio Sextet 4?51 1
14. Carioca Hills, Bud Shank, Laurindo Almeida 3?08 1
15. Bossa Nova Cha Cha, Luiz Bonfà 3?24 1
16. Meditaçao, Walter Wanderley Group 2?56 1
17. Corcovado, Cannonball Adderley ; the Bossa Rio Sextet 6?44 1
18. A Felicidade, Bob Brookmeyer 3?16 1
19. Se E Tarde Me Pardoa, Quincy Jones ; His Orchestra 4?25 2
20. Insensatez, Lalo Schifrin 2?20 2
21. Meditaçao, Cal Tjader 3?32 2
22. Canacao Para Geralda, Ramsey Lewis Trio 6?17

More Info:

At the end of the Fifties, Antonio Carlos Jobim, Vinicius de Moraes and Joao Gilberto breathed a new sensitivity into the atmosphere of Rio de Janeiro: they introduced samba rhythms into the city's tristeza and felicidade. A new kind of music was born, one that bore a relationship to spleen, a kind of moody feeling, yet it showed glimmers of hope that mingled with a 'cool' spirit relying on syncopated and relaxed rhythms. New winds began to blow over the music of Brazil. All that was needed were a few albums from Rio (such as Chega de Saudade by Joao Gilberto), the film Orfeo Negro directed by Marcel Camus (it received the Palme d'Or Award at the 1959 Cannes Film Festival), plus the curiosity of a dozen American jazz musicians, for Bossa Nova to become a music style that would completely dominate the first half of the Sixties. The sincerity of Brazil's music, of course, seemed eclipsed inside American arrangements whose subtleties were still hesitant in 1962, but the contribution of Bossa Nova to the jazz of that period could not be ignored. Jazz owes it's richness to the vitality of the exchanges between it's musicians, even if some people saw the Bossa Nova played in New York as taking a too northerly direction, or being too 'American'. But listening to these four sides ? recorded in the space of just four years ? reveals how much those exchanges made jazz music even richer.