This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2012)

Bossa nova is a well-known style of Brazilian music developed and popularized in the 1950s and 1960s. The phrase bossa nova means literally "New Trend" (Portuguese pronunciation: [ˈbɔsɐ ˈnɔvɐ] ( listen)) A lyrical fusion of samba and jazz, bossa nova acquired a large following in the 1960s initially from young musicians and college students.^[2] Since its birth, it remains a vital part of the standard jazz repertoire.

Origin of the term "bossa nova"[link]

In Brazil, the word "bossa" is slang for doing something with particular charm, natural flair or innate ability. As early as 1932, Noel Rosa used the word in a samba:

"O samba, a prontidão e outras bossas são nossas coisas, são coisas nossas" ("The samba, the readiness and other bossas are our things, are things from us").

The exact origin of the term "bossa nova" still remains uncertain. Within the artistic beach culture of the late 1950s Rio de Janeiro, the term "bossa" was used to refer to any new "trend" or "fashionable wave". In his book Bossa Nova, Brazilian author Ruy Castro asserts that "bossa" was already in use in the 1950s by musicians as a word to characterize someone's knack for playing or singing idiosyncratically.^[3] Castro claims that the term "bossa nova" might have first been used in publicity for a concert given in 1958 by the Grupo Universitário Hebraico do Brasil (University Hebrew Group of Brazil). This group consisted of Sylvinha Telles, Carlinhos Lyra, Nara Leão, Luizinho Eça, Roberto Menescal, et al. And in 1959, Nara Leão also participated in more than one embryonic display of bossa nova. This included the 1st Festival de Samba Session, conducted by the PUC's (Pontifical Universidade Catolica) student union. (This session was then chaired by Carlos Diegues, a law student that Leão ultimately married.) ^[4] While these early musicians were likely using the term "bossa nova" as a generic reference this novel musical style, the term took hold as the definition of their own specific artistic creation to this day.

Origins and history of "bossa nova" musical style[link]

The bossa nova musical style evolved from samba, but is more complex harmonically and less percussive. As opposed to Samba's origins in the favelas, bossa nova emerged primarily from the upscale beachside neighborhoods of Rio de Janeiro. Certain similar elements were already evident, even influences from Western classical music like Gershwin's Cuban Overture with its characteristic 'Latin' clave rhythm. The influence on bossa nova of jazz styles such as cool jazz is often debated by historians and fans, but a similar "cool sensibility" is apparent.

The development of bossa nova is largely credited to artists working in the 1950s including Johnny Alf, Antonio Carlos Jobim and João Gilberto. One of the first bossa nova songs was "Bim-Bom" by Gilberto. Other songs that popularized the style included Dorival Caymmi's "Saudade da Bahia" and Elizete Cardoso's recording of "Chega de Saudade" on the Canção do Amor Demais LP, composed by Vinícius de Moraes (lyrics) and Antonio Carlos Jobim (music). The song was soon after released by Gilberto.

An early influence on bossa nova was the song "Dans mon île" by French singer Henri Salvador, featured in the 1957 Italian movie Europa di notte by Alessandro Blasetti; the song was distributed in Brazil and covered later by Brazilian artists Eumir Deodato (Los Danseros en Bolero - 1964) and Caetano Veloso (Outras Palavras - 1981). (In 2005, Henri Salvador was awarded the Brazilian Order of Cultural Merit for his influence on Brazilian culture. He received this honor from then singer and Minister of Culture, Gilberto Gil in the presence of President Lula.

The initial releases by Gilberto and the internationally popular 1959 film Orfeu Negro ("Black Orpheus", with score by Luiz Bonfá) brought significant popularity of this musical style in Brazil and elsewhere in Latin America. It soon spread to North America via visiting American jazz musicians. The resulting recordings by Charlie Byrd and Stan Getz cemented its popularity and led to a worldwide boom with the 1963 recordings of Getz/Gilberto. Numerous bossa nova recordings by famous jazz performers followed, including those of Ella Fitzgerald (Ella Abraça Jobim) and Frank Sinatra (Francis Albert Sinatra & Antônio Carlos Jobim).

The first bossa nova single to achieve international popularity was perhaps the most successful of all time, the Getz/Gilberto recording "The Girl From Ipanema". This 1964 song was edited to include only the singing of Astrud Gilberto, Gilberto's then wife. From the popularity of this song, the genre would then endure and withstand substantial "watering down" by popular artists throughout the next four decades.

Instruments[link]

Classical guitar: Bossa nova is most commonly performed on the nylon-string classical guitar, played with the fingers rather than with a pick. Its purest form could be considered unaccompanied guitar with vocals, as exemplified by João Gilberto. Even in larger, jazz-like arrangements for groups, there is almost always a guitar that plays the underlying rhythm. Gilberto basically took one of the several rhythmic layers from a samba ensemble, specifically the tamborim, and applied it to the picking hand.

Piano: Though not as prominent as the guitar, the piano is another important instrument of bossa nova; Jobim wrote for the piano and performed on it for most of his own recordings. The piano has also served as a stylistic bridge between bossa nova and jazz, enabling a great deal of cross-pollination between the two. In addition to the piano, the electronic organ is also prominently featured on many classic bossa nova tracks, such as "(So Nice) Summer Samba" by Walter Wanderly.

Percussion: Drums and other percussion are generally not considered essential bossa nova instruments. Nonetheless, there is a distinctive bossa nova drumming style like that of Helcio Milito and Milton Banana, characterized by continuous eighths on the high-hat (mimicking the samba Pandeiro) and tapping of the rim or "rim clicks" in a clave pattern. The bass drum usually plays on "1-&3-&1".

Strings:' Lush orchestral accompaniment is often associated with bossa nova's North American image as "lounge" music. It is present in many of Jobim's own recordings, and in those of Astrud Gilberto. Dusty Springfield would both feature and epitomize this element on her Philips recording of "The Look of Love", a song written by Burt Bacharach and Hal David, and one of the most respected American pop interpretations of the bossa nova. (That version is not the Phil Ramone version Springfield first recorded.) The unique aural texture of bossa strings, when used, is an important secondary characteristic of the genre. Bossa nova is at heart a folk genre, and not all bossa nova records have strings.

Structure[link]

In the early bossa nova recordings, in terms of lyrical themes and length of songs (typically two to four minutes), bossa nova's was very much a popular-music style. However, its song structure often differs from European and North American popular music's standard format of two verses followed by a bridge and a closing verse; bossa nova songs frequently have no more than two lyrical verses, while many lack a bridge. Some of João Gilberto's earliest recordings were less than two minutes long, and some had a single lyrical verse that was simply repeated.

Certain other instrumentations and vocals are also part of the structure of bossa nova:

Bossa nova and samba[link]

Bossa nova has at its core a rhythm based on samba. Samba combines the rhythmic patterns and feel originating in former African slave communities. Samba's emphasis on the second beat carries through to bossa nova (to the degree that it is often notated in 2/4 time). However, unlike samba, bossa nova doesn't have dance steps to accompany it.^[5] When played on the guitar, in a simple one-bar pattern, the thumb plays the bass notes on 1 and 2, while the fingers pluck the chords in unison on the two eighth notes of beat one, followed by the second sixteenth note of beat two. Two-measure patterns usually contain a syncopation into the second measure. Overall, the rhythm has a "swaying" feel rather than the "swinging" feel of jazz. As bossa nova composer Carlos Lyra describes it in his song "Influência do Jazz", the samba rhythm moves "side to side" while jazz moves "front to back". Bossa nova was also influenced by the blues, but because the most famous bossa novas lack the 12-bar structure characteristic of classic blues, as well as the statement, repetition and rhyming resolution of lyrics typical of the genre, bossa nova's affinity with the blues often passes unnoticed.^[6]

Bossa nova and jazz[link]

In terms of harmonic structure, bossa nova has a great deal in common with jazz, in its sophisticated use of seventh and extended chords. The first bossa nova song, "Chega de Saudade", borrowed some structural elements from choro; however, later compositions rarely followed this form. Jobim often used challenging, almost dissonant melody lines, the best-known being in the tunes "Desafinado" ("Off-Key"). Often the melody goes to the altered note in the chord. For example, if the chord is DM7#11, the note sung in the melody line there would be G#, or the sharp 11.

Vocals[link]

Aside from the guitar style, João Gilberto's other innovation was the projection of the singing voice. Prior to bossa nova, Brazilian singers employed brassy, almost operatic styles. Now, the characteristic nasal vocal production of bossa nova is a peculiar trait of the caboclo^[7] folk tradition of north-eastern Brazil.^[8] Gilberto managed to dramatically reduce that to a subtle near-whisper.

Themes and lyrics[link]

The lyrical themes found in bossa nova include women, love, longing, and the best of youth. There are two thematic types of bossa nova: the early bossa nova (beginning in the late 1950s), and the bossa nova after the coup d'état of 1964. The musical lyrics of the late 1950s depicted the easy life of the middle to upper-class Brazilians, though the majority of the population was in the working class. However, in conjunction with political developments of the early 1960s (especially the 1964 coup d'état), bossa nova style became more "angry", with lyrics becoming more thematically charged, referring explicitly to people's struggles and liberty.^[9]

Modern developments[link]

From the mid-nineties, various other European artists reached out to bossa nova for inspiration, incorporating electronic music and creating styles such as BossaElectrica and TechnoBossa. New singers like Bebel Gilberto, daughter of bossa nova co-creator João Gilberto and singer Miúcha, and new European bands like Nouvelle Vague and Koop, used modern approaches to further interpret this soothing style of music. Broadway composer Stephen Sondheim used a bossa nova rhythm to connote a "nightclub" feeling in his song "The Ladies Who Lunch" from the album Company (1970).

Notable bossa nova artists[link]

Stan Getz

João Gilberto

• Laurindo Almeida
• Badi Assad
• Luiz Bonfá
• João Bosco
• Chico Buarque
• Charlie Byrd
• Oscar Castro-Neves
• Gal Costa
• Eliane Elias
• Quarteto em Cy
• Gilberto Gil (early years)
• Bebel Gilberto
• João Gilberto
• Astrud Gilberto
• Antonio Carlos Jobim
• Edu Lobo
• Nara Leão
• Carlos Lyra
• Maysa Matarazzo
• Sérgio Mendes
• Newton Mendonça
• Roberto Menescal
• Vinicius de Moraes
• Paula Morelenbaum
• Sitti Navarro
• Paulinho Nogueira
• Hermeto Pascoal
• Rosa Passos
• Agustín Pereyra Lucena
• Baden Powell de Aquino
• Elis Regina
• Elza Soares
• Sylvia Telles
• Toquinho (Antônio Pecci Filho)
• Marcos Valle
• Caetano Veloso
• Bola Sete
• Zimbo Trio
• Wanda Sá

Bossa nova in pop music outside of Brazil[link]

Over the years the genre of bossa nova has reached beyond its Brazilian and jazz roots, influencing popular music and other popular rhythms.

• American entertainer Pat Boone scored a hit in 1962 with "Quando, Quando, Quando", with music by Tony Renis and lyrics by Alberto Testa.
• American jazz musician Dave Brubeck released the album Bossa Nova U.S.A. in 1962, mixing jazz with bossa nova.
• In 1963, Elvis Presley released the hit song "Bossa Nova Baby". The song's only link with bossa nova, however, is the name, as there is nothing in the musical composition of the song that resembles bossa nova.
• Also in 1963, Eydie Gorme had a Top 10 hit with the song "Blame It on the Bossa Nova".
• The Beatles' "And I Love Her" (1964) and The Kinks' "No Return" (1967) are both in the style of bossa nova.
• In 1967, Frank Sinatra performed several songs with Antônio Carlos Jobim.
• Also in 1967, The Doors released the hit song "Break on Through (To the Other Side)", which featured a prominent bossa nova style drum beat by drummer John Densmore.
• Robert Palmer's 1988 album, Heavy Nova, fused bossa nova rhythms with hard rock and blue-eyed soul.
• In 1990, alternative-rock band Pixies released the album Bossanova.
• In 1995, George Michael released "Jesus to a Child", a song influenced by the bossa nova style. The song was dedicated to his former lover, Brazilian Anselmo Feleppa (who died in 1993).
• In 2001, Jamiroquai recorded the song "Corner of the Earth" on the album A Funk Odyssey.
• In 2006, The Black Eyed Peas recorded the song "Mas Que Nada" on Sérgio Mendes' album Timeless.
• In 2006, Taiwanese singer Jay Chou recorded the Mandarin-language song "迷迭香" ("Rosemary")
• Before her solo career, singer Lani Hall sang in the band Brasil '66.
• José José started his musical career playing the bass and double bass in a bossa nova trio named "Los PEG".
• Shakira was strongly influenced by bossa nova in her 2005 song "Obtener un sí".
• In 2009, Russian rapper Timati recorded the song "Bossa" on the album The Boss.

See also[link]

• Cha cha
• Mambo
• Tango

References[link]

Further reading[link]

• Castro, Ruy (transl. by Lysa Salsbury). Bossa Nova: The Story of the Brazilian Music That Seduced the World. 2000. 1st English language edition. A Capella Books, an imprint of Chicago Review Press, Inc. ISBN 1-55652-409-9 First published in Brasil by Companhia das Letras. 1990.
• McGowan, Chris and Pessanha, Ricardo. The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil. 1998. 2nd edition. Temple University Press. ISBN 1-56639-545-3
• Perrone, Charles A. Masters of Contemporary Brazilian Song: MPB 1965–1985. Austin: University of Texas Press, 1989.
• Mei, Giancarlo. Canto Latino: Origine, Evoluzione e Protagonisti della Musica Popolare del Brasile. 2004. Stampa Alternativa-Nuovi Equilibri. Preface by Sergio Bardotti; afterword by Milton Nascimento. (in Italian)

External links[link]

Wikimedia Commons has media related to: Bossa nova

• "History of the Bossa Nova" by Brazilian musician Paulo Bitencourt
• "It's 20 years ago bossa nova was released to the world at Carnegie Hall in New York" by Rénato Sergio, Manchete magazine, 1982 (in Portuguese)
• "João Gilberto: The Man Who Invented Bossa Nova", by Daniella Thompson, Brazzil magazine, May 1998

Astrud Gilberto (born March 30, 1940) is a Brazilian samba and bossa nova singer. She is well known for her performance of the Grammy Award-winning song "The Girl from Ipanema".

Biography[link]

Astrud Gilberto was born as Astrud Weinert, the daughter of a Brazilian mother and a German father, in the state of Bahia, Brazil. She was raised in Rio de Janeiro. She married João Gilberto in 1959 and emigrated to the United States in 1963, continuing to reside in the US from that time. Astrud and João divorced in the mid-1960s and she began a relationship with her musical partner, Stan Getz.^[1]

She sang on the influential album Getz/Gilberto featuring João Gilberto, Stan Getz, and Antonio Carlos Jobim. She had never performed professionally, and sang on the recordings at the suggestion of her (then) husband, João Gilberto.

Gilberto's recording of "The Girl from Ipanema" established her as a jazz and pop singer. It sold over one million copies and was awarded a gold disc.^[2] In 1964, Gilberto appeared in the films Get Yourself a College Girl and The Hanged Man. Her first solo album was The Astrud Gilberto Album (1964). Upon moving to the United States, she went on tour with Getz.^[1] Beginning as a singer of bossa nova and American jazz standards, Gilberto started to record her own compositions in the 1970s. Her repertoire includes "The Shadow of Your Smile", "It Might as Well Be Spring", "Love Story", "Fly Me to the Moon", "Day by Day", "Here's That Rainy Day", and "Look to the Rainbow". She has recorded songs in Portuguese, English, Spanish, Italian, French, German, and Japanese.

In 1982, Gilberto's son Marcelo joined her group, touring with her for more than a decade as bassist. In addition, he collaborated as co-producer of the albums Live in New York (1996) and Temperance (1997). Her son Gregory Lasorsa played guitar on the Temperance album on the song "Beautiful You", which features singer Michael Franks.

Gilberto received the Latin Jazz USA Award for Lifetime Achievement in 1992, and was inducted into the International Latin Music Hall of Fame in 2002. In 1996, she contributed to the AIDS benefit album Red Hot + Rio produced by the Red Hot Organization, performing the song "Desafinado" (Portuguese for "slightly out of tune", or "off key") along with George Michael. Although she did not officially retire, Gilberto announced in 2002 that she was taking "indefinite time off" from public performances.

Her original recording of "Fly Me to the Moon" was edited as a duet using a recording of the same song by Frank Sinatra for the soundtrack of Down with Love (2003). Her recording "Who Can I Turn To?" was sampled by The Black Eyed Peas in the song "Like That" from the album Monkey Business. Her vocals on "Berimbau" were sampled by Cut Chemist in his song "The Garden". Her recording of "Once I Loved" was featured in the 2007 film Juno.

The "Astrud" track on Basia Trzetrzelewska's 1987 album, Time and Tide, is a tribute to Gilberto.

Gilberto is an ardent advocate of animal rights.^[3]

Discography[link]

Bibliography[link]

• Bossa Nova: The Story of the Brazilian Music That Seduced the World, Castro, Ruy. 2000. (Published in English in 2003).

References[link]

External links[link]

• Official Website
• "Desperately Seeking Astrud Gilberto" by Joey Sweeney, Philadelphia Weekly, June 5, 2002.

Stan Getz
With his granddaughter Katie in 1987 at the Lincoln Center
Background information
Birth name	Stanley Gayetzky
Born	(1927-02-02)February 2, 1927 Philadelphia, Pennsylvania, United States
Died	June 6, 1991(1991-06-06) (aged 64) Malibu, California, United States
Genres	Jazz Bossa nova West coast jazz Cool jazz
Occupations	Saxophonist
Instruments	Tenor saxophone, Baritone Saxophone
Years active	1943–1991
Labels	Verve Records
Associated acts	Kenny Barron, Bill Evans, J.J. Johnson, Bob Brookmeyer, Dizzy Gillespie, Charlie Byrd, Chet Baker, Gary Burton, Cal Tjader, Woody Herman, João Gilberto, Tom Jobim, Victor Lewis

Stanley Getz (February 2, 1927 – June 6, 1991) was an American jazz saxophone player. Getz was known as "The Sound" because of his warm, lyrical tone, his prime influence being the wispy, mellow timbre of his idol, Lester Young.^[1] Coming to prominence in the late 1940s with Woody Herman's big band, Getz is described by critic Scott Yanow^[2] as "one of the all-time great tenor saxophonists". Getz went on to perform in bebop, cool jazz and third stream, but is perhaps best known for popularizing bossa nova, as in the worldwide hit single "The Girl from Ipanema" (1964).

Early life[link]

Getz was born on February 2, 1927, in Philadelphia, Pennsylvania. His parents were Ukrainian Jews who emigrated from the Kiev area in 1903. The family later moved to New York City for better employment opportunities. Getz worked hard in school, receiving straight As, and finished sixth grade close to the top of his class. Getz's major interest was in musical instruments, and he felt a need to play every instrument in sight. He played a number of them before his father bought him his first saxophone at the age of 13. Even though his father also got him a clarinet, Getz instantly fell in love with the saxophone and began practicing eight hours a day.

He attended James Monroe High School (New York) in the Bronx. In 1941, he was accepted into the All City High School Orchestra of New York City. This gave him a chance to receive private, free tutoring from the New York Philharmonic's Simon Kovar, a bassoon player. He also continued playing the saxophone. He eventually dropped out of school in order to pursue his musical career, but was later sent back to the classroom by the school system's truancy officers.^[1]

In 1943 at the age of 16,^[3] he was accepted into Jack Teagarden's band, and because of his youth he became Teagarden's ward. Getz also played along with Nat King Cole and Lionel Hampton. After playing for Stan Kenton, Jimmy Dorsey, and Benny Goodman, Getz was a soloist with Woody Herman from 1947 to 1949 in "The Second Herd", and he first gained wide attention as one of the band's saxophonists, who were known collectively as 'The Four Brothers', the others being Serge Chaloff, Zoot Sims and Herbie Steward.^[3] With Herman, he had a hit with "Early Autumn" and after Getz left "The Second Herd" he was able to launch his solo career. He would be the leader on almost all of his recording sessions after 1950.

Career[link]

In the mid to late 1950s working from Scandinavia, Getz became popular playing cool jazz with Horace Silver, Johnny Smith, Oscar Peterson, and many others. His first two quintets were notable for their personnel, including Charlie Parker's rhythm section of drummer Roy Haynes, pianist Al Haig and bassist Tommy Potter. A 1953 line-up of the Dizzy Gillespie/Stan Getz Sextet featured Gillespie, Getz, Oscar Peterson, Herb Ellis, Ray Brown and Max Roach.^[1]

Returning to the U.S. from Europe in 1961, Getz became a central figure in introducing bossa nova music to the American audience. Teaming with guitarist Charlie Byrd, who had just returned from a U.S. State Department tour of Brazil, Getz recorded Jazz Samba in 1962 and it became a hit. The title track was an adaptation of Antonio Carlos Jobim's "One Note Samba". Getz won the Grammy for Best Jazz Performance of 1963 for "Desafinado", from the same album. It sold over one million copies, and was awarded a gold disc.^[4] As a follow-up, Getz recorded the album, Jazz Samba Encore!, with one of the originators of bossa nova, Brazilian guitarist Luiz Bonfá. It also sold more than a million copies by 1964, giving Getz his second gold disc.^[4]

He then recorded the album Getz/Gilberto, in 1963,^[5] with Tom Jobim, João Gilberto and his wife, Astrud Gilberto. Their "The Girl from Ipanema" won a Grammy Award. The piece became one of the most well-known latin jazz tracks. Getz/Gilberto won two Grammys (Best Album and Best Single). A live album, Getz/Gilberto Vol. 2, followed, as did Getz Au Go Go, a live recording at the Cafe Au Go Go. Getz's affair with Astrud Gilberto brought an end to his musical partnership with her and her husband, and he began to move away from bossa nova and back to cool jazz. While still working with the Gilbertos, he recorded the jazz album Nobody Else But Me, with a new quartet including vibraphonist Gary Burton, but Verve Records, wishing to continue building the Getz brand with bossa nova, refused to release it. It eventually came out 30 years later, after Getz had died.

In 1972, Getz recorded in the fusion idiom with Chick Corea, Tony Williams and Stanley Clarke, and in this period experimented with an Echoplex on his saxophone. He had a cameo in the film The Exterminator (1980).

In the mid-1980s Getz worked regularly in the San Francisco Bay area and taught at Stanford University as an artist-in-residence at the Stanford Jazz Workshop until 1988.^[6] In 1986, he was inducted into the Down Beat Jazz Hall of Fame. During 1988, Getz worked with Huey Lewis and the News on their Small World album. He played the extended solo on the title track, which became a minor hit single.

His tenor saxophone of choice was the Selmer Mark VI.

Personal life[link]

Getz married Beverly Byrne, a vocalist with the Gene Krupa band, on November 7, 1946; they had three children together.

Getz became involved with drugs and alcohol while a teenager. In 1954, he was arrested for attempting to rob a pharmacy to get a morphine fix. As he was being processed in the prison ward of Los Angeles County-USC Medical Center, Beverly gave birth to their third child one floor below. Getz tried to escape his narcotics addiction by moving to Copenhagen. He married Swedish aristocrat Monica Silfverskiöld on November 3, 1956, and had two children with her: Pamela and Nicolas. Getz divorced Monica in 1987.

Zoot Sims, who had known Getz since their time with Herman, once described him as 'a nice bunch of guys', as a consequence of the wide behavioural range of which Getz was capable. Getz died of liver cancer in June 6, 1991. His body was cremated and the ashes scattered at sea, off the coast of Malibu, California.

In 1998, the 'Stan Getz Media Center and Library' at Berklee College of Music was dedicated through a donation from the Herb Alpert Foundation.

Discography[link]

Awards[link]

• Grammy Award for Best Jazz Performance, Soloist or Small Group (Instrumental) "Desafinado," Stan Getz. 1962
• Grammy Award for Record of the Year, "The Girl From Ipanema," 1964
• Grammy Award for Album of the Year, Getz/Gilberto, Stan Getz and João Gilberto (Verve)1964
• Grammy Award for Best Instrumental Jazz Performance, Small Group or Soloist With Small Group, Getz/Gilberto, Stan Getz 1964
• Grammy Award for Best Jazz Solo Performance, "I Remember You" Stan Getz 1991

Bibliography[link]

• The Stan Getz discography, Astrup, Arne. 1978
• Stan Getz, Palmer, Richard. 1988.
• Stan Getz: an appreciation of his recorded work, Kirkpatrick, Ron. 1992.
• Stan Getz: nobody else but me, Gelly, Dave. 2002.
• Stan Getz: an annotated bibliography and filmography, Churchill, Nicholas. 2005.
• Jazz saxophone: an in-depth look at the styles of the tenor masters, Taylor, Dennis, 2004.
• Maggin, Donald L. (1996). Stan Getz. A Life in Jazz. New York: William Morrow. ISBN 0-688-15555-3. 

References[link]

External links[link]

Biography portal

• Official Stan Getz homepage
• 1986 Interview
• Getz discography

‎

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2011)

Antônio Carlos Brasileiro de Almeida Jobim (January 25, 1927 – December 8, 1994), also known as Tom Jobim (Portuguese pronunciation: [ˈtõ ʒoˈbĩ]), was a Brazilian songwriter, composer, arranger, singer, and pianist/guitarist. He was a primary force behind the creation of the bossa nova style, and his songs have been performed by many singers and instrumentalists within Brazil and internationally.

Widely known as the composer of "The Girl from Ipanema" (Garota de Ipanema), one of the most recorded songs of all time, Jobim has left a large number of songs that are today included in the standard Jazz and Pop repertoires.

Early life[link]

Antonio Carlos Jobim was born in the middle-class district of Tijuca, in Rio de Janeiro. His father Jorge de Oliveira Jobim (São Gabriel, Rio Grande do Sul, April 23, 1889 - July 19, 1935) was a writer, diplomat, professor and journalist. He came from a prominent family, being the great-grand nephew of José Martins da Cruz Jobim,^[1] senator, privy councillor and physician of Emperor Dom Pedro II. While studying medicine in Europe, José Martins added Jobim to his last name, paying homage to the village where his family came from in Portugal, the parish of Santa Cruz de Jovim, Porto.^[2][3]

When Antonio was still an infant, his parents separated and his mother, Nilza Brasileiro de Almeida (c. 1910 - November 17, 1989), moved with her children (Antonio Carlos and his sister Helena Isaura, born February 23, 1931) to Ipanema, the beachside neighborhood the composer would later celebrate in his songs. In 1935, when the elder Jobim died, Nilza married Celso da Frota Pessoa (died February 2, 1979), who would encourage his stepson's career. He was the one that gave Jobim his first piano. As a young man of limited means, Jobim earned his living by playing in nightclubs and bars and later as an arranger for a recording label, before starting to achieve success as a composer.

Jobim's musical roots were planted firmly in the work of Pixinguinha, the legendary musician and composer who began modern Brazilian music in the 1930s. Among his teachers were Lúcia Branco, and, from 1941 on, Hans-Joachim Koellreutter. Jobim was also influenced by the French composers Claude Debussy and Maurice Ravel, by the Brazilian composer Heitor Villa-Lobos, and by jazz. Among many themes, his lyrics talked about love, self discovery, betrayal, joy and especially about the birds and natural wonders of Brazil, like the "Mata Atlântica" forest, characters of Brazilian folklore like Matita Pereira (Saci Pererê), and his home city of Rio de Janeiro.

Career[link]

Jobim became prominent in Brazil when he teamed up with poet and diplomat Vinícius de Moraes to write the music for the play Orfeu de Conceição (1956). The most popular song from the show was "Se Todos Fossem Iguais a Você" ("If everyone were like you"). Later, when the play was turned into a film, producer Sacha Gordine did not want to use any of the existing music from the play. Gordine asked de Moraes and Jobim for a new score for the film Black Orpheus (1959). Moraes was at the time away in Montevideo, Uruguay, working for the Itamaraty (the Brazilian Ministry of Foreign Affairs) and so he and Jobim were only able to write three songs, primarily over the telephone ("A Felicidade", "Frevo",and "O Nosso Amor"). This collaboration proved successful, and Vinicius went on to pen the lyrics to some of Jobim's most popular songs.

A key event in making Jobim's music known in the English speaking world was his collaboration with the American jazz saxophonist Stan Getz, João Gilberto and Gilberto's wife at the time, Astrud Gilberto, which resulted in two albums, Getz/Gilberto (1963) and Getz/Gilberto Vol. 2 (1964). The release of Getz/Gilberto created a bossa nova craze in the United States, and subsequently internationally. Getz had previously recorded Jazz Samba with Charlie Byrd (1962), and Jazz Samba Encore! with Luiz Bonfá (1964). Jobim wrote many of the songs on Getz/Gilberto, which became one of the best-selling jazz albums of all time, and turned Astrud Gilberto, who sang on "The Girl from Ipanema" and "Corcovado", into an international sensation. At the Grammy Awards of 1965 Getz/Gilberto won the Grammy Award for Album of the Year, Grammy Award for Best Jazz Instrumental Album, Individual or Group and the Grammy Award for Best Engineered Album, Non-Classical. "The Girl from Ipanema" won the award for Grammy Award for Record of the Year.

Personal life[link]

Jobim was married to Thereza Otero Hermanny on October 15, 1949 and had two children with her: Paulo Jobim (born 1950), an architect and musician, married and father of Daniel Jobim and Dora Jobim (born 1976); and Elizabeth "Beth" Jobim (born 1957), a painter. Jobim and Otero divorced in 1978. On April 30, 1986 he married 29-year old photographer Ana Beatriz Lontra, with whom he had two more children: João Francisco Jobim (1979–1998) and Maria Luiza Helena Jobim (born 1987). His grandson Daniel Jobim (born 1973), Paulo's son, followed his grandfather's steps, becoming a pianist and composer.

Death[link]

In early 1994, after finishing his album Antonio Brasileiro, Jobim complained to his doctor, Roberto Hugo Costa Lima, of urinary problems, which included urinating blood. A bladder tumor was detected, but Jobim postponed the recommended immediate surgery for several months, while he tried spiritual treatment with a Brazilian medium and started working with his album Tom Jobim. After receiving a message allegedly coming from Frederik von Stein, a dead German doctor, that recommended not having the surgery, Jobim decided to stop listening to the spiritual guidance and have the surgery instead. He was operated in Mount Sinai Hospital, in New York, on December 2, 1994. On December 8, while recovering from surgery, he had a cardiac arrest caused by a pulmonary embolism and two hours later another cardiac arrest, from which he died.^[4] His last words were: "Remember me".^{[citation needed]} He was survived by his children and grandchildren. His last album, Antonio Brasileiro, was released three days after his death.^[5]

Jobim's body was flown back to Brazil on December 9, 1994 and was given a private funeral on December 13, 1994 in Rio de Janeiro. His family, his friends Miúcha, Edu Lobo, João Gilberto, Astrud Gilberto and his close friends came to his funeral.^{[citation needed]} His body lay in state until given a proper burial on December 20, 1994. He is buried in the Cemitério São João Batista in Rio de Janeiro.^[6]

Legacy[link]

Jobim is one of the most important songwriters of the 20th century. Many of Jobim's songs are jazz standards. American jazz singers Ella Fitzgerald and Frank Sinatra prominently featured Jobim's songs on their albums Ella Abraça Jobim (1981), and Francis Albert Sinatra & Antonio Carlos Jobim (1967), respectively. The 1996 CD Wave: The Antonio Carlos Jobim Songbook included performances of Jobim tunes by Oscar Peterson, Herbie Hancock, Chick Corea, and Toots Thielemans. Jobim was an innovator in the use of sophisticated harmonic structures in popular song. Some of his melodic twists, like the melody insisting on the major seventh of the chord, became common use in Jazz and easy listening music after him.^[7] The Brazilian collaborators and interpreters of Jobim's music include João Gilberto (often credited as a co-creator of bossa nova), Chico Buarque, Gal Costa, Elis Regina, Sérgio Mendes, Astrud Gilberto, and Flora Purim. Eumir Deodato and the conductor/composer Claus Ogerman arranged many recordings of Jobim tunes.^[8] He won a Lifetime Achievement award at the 54th Grammy Awards.^[9]

As a well-deserved posthumous homage, on January 5, 1999 the Municipality of Rio de Janeiro changed the name of Rio's Galeão International Airport , located on Governador Island, to bear the composer's name. Galeão Airport is explicitly mentioned in his composition "Samba do avião."

Discography[link]

Studio albums[link]

• 1963: The Composer of Desafinado, Plays
• 1965: The Wonderful World of Antonio Carlos Jobim
• 1967: Wave
• 1967: A Certain Mr. Jobim
• 1970: Stone Flower
• 1970: Tide
• 1972: Look to the Sky
• 1973: Matita Perê
• 1973: Jobim
• 1974: Elis & Tom (with Elis Regina)
• 1976: Urubu
• 1977: Miúcha & Antonio Carlos Jobim - Vol. 1 (with Miúcha)
• 1979: Miúcha & Antonio Carlos Jobim - Vol. 2 (with Miúcha)
• 1980: Terra Brasilis
• 1981: Edu & Tom (with Edu Lobo)
• 1987: Passarim
• 1987: Inédito
• 1989: Echoes of Rio
• 1994: Miúcha e Tom Jobim (with Miúcha)
• 1994: Antonio Brasileiro
• 1998: Tom Jobim (Brazil only)

Compilations[link]

• 1999: The Best of Tom Jobim
• 2000: The Tom Jobim Sessions (outtakes with various artists)
• 2002: The Outtakes (outtakes as a solo artist)
• 2006: Sinatra-Jobim (outtakes with Frank Sinatra)
• 2009: The Complete Tom Jobim (boxset)

Live albums[link]

• 1977: Gravado ao vivo no Canecão (with Vinicius, Toquinho, Miúcha)
• 1986: Jazzvisions: Rio Revisited (with Gal Costa)
• 1996: Antonio Carlos Jobim and Friends (with Joe Henderson, Shirley Horn, Jon Hendricks, Herbie Hancock, Gonzalo Rubalcaba)
• 2001: Tom Canta Vinicius: Ao Vivo (recorded in 1990)
• 2004: Em Minas Ao Vivo: Piano e Voz (recorded in 1981)

Soundtracks[link]

• 1959: Black Orpheus (Soundtrack)
• 1970: The Adventurers (Soundtrack)
• 1983: Gabriela, Cravo e Canela (Soundtrack)^[10]
• 1986: Moments of Play (Soundtrack)^[11]

As contributor[link]

• 1958: Canção do Amor Demais – Elizete Cardoso
• 1959: Amor de gente moça – Silvia Telles
• 1959: Chega de Saudade – João Gilberto
• 1959: Por tôda a minha vida – Lenita Bruno
• 1960: O Amor, o Sorriso e a Flor – João Gilberto
• 1965: The Swinger from Rio – Sérgio Mendes
• 1966: Love, Strings and Jobim
• 1995: Abandoned Garden – Michael Franks

With Stan Getz[link]

• 1962: Jazz Samba
• 1963: Getz/Gilberto
• 1963: Jazz Samba Encore!
• 1964: Getz/Gilberto Vol. 2
• 2007: Greatest Hits

With Frank Sinatra[link]

• 1967: Francis Albert Sinatra & Antonio Carlos Jobim
• 1971: Sinatra & Company
• 1979: Sinatra-Jobim Sessions
• 1994: Duets II

Compositions[link]

• "A Felicidade"
• "Água de Beber"
• "Anos Dourados" (Looks Like December)
• "As Praias Desertas"
• "Águas de Março" (Waters of March)
• "Bonita"
• "Brigas Nuca Mais"
• "Chega de Saudade" (No More Blues)
• "Chovendo na Roseira"
• "Corcovado" (Quiet Nights of Quiet Stars)
• "Desafinado" (Slightly Out of Tune)
• "Dindi"
• "Favela"
• "Fotografia"
• "Garota de Ipanema" (The Girl From Ipanema)
• "Insensatez (How Insensitive)"
• "Inútil Paisagem (If You Never Come to Me)"
• "Look to the Sky"
• "Meditação" (Meditation)
• "O Amor Em Paz" (Once I Loved)
• "Passarim"
• "Sabiá"
• "Samba de Uma Nota Só" (One Note Samba)
• "Samba do Avião"
• "So Danço Samba"
• "Só Tinha De Ser Com Você
• "Se Todos Fossem Iguais A Você (Someone to Light Up My Life)"
• "Tema de Amor de Gabriela"
• "Triste"
• "Vivo Sonhando" (Dreamer)
• "Vou te Contar" (Wave)

Concert films[link]

• 2002: Antonio Carlos Jobim: An All-Star Tribute (with Herbie Hancock, Joe Henderson, Shirley Horn, Jon Hendricks, Gonzalo Rubalcaba)^[12]
• 2007: Antonio Carlos Jobim In Concert
• 2007: Live at Montreal Jazz Festival
• 2009: Tom Jobim: The Waters of March

Notes[link]

References[link]

• McGowan, Chris; Pessanha, Ricardo (1998). The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil (2nd edition ed.). Philadelphia: Temple University Press. ISBN 1-56639-545-3, ISBN 1-56639-544-5. 
• Castro, Ruy (2000). Bossa Nova: The Story of the Brazilian Music That Seduced the World (1st English-Language Edition ed.). Chicago, IL: A Capella Books. ISBN 1-55652-409-9. 
• Cabral, Sergio (2008). Antonio Carlos Jobim - Uma Biografia (1st Edition ed.). São Pulo, Brazil: IBEP Nacional. ISBN 85-7865-011-5. 

External links[link]

• Nos Bastidores do legendario concerto da bossa nova no Carnegie Hall in 1962
• Jobim Guitar Tab Archives & Song Lyrics Page
• Antônio Carlos Jobim page at The Brazilian Sound
• Antônio Carlos Jobim at Find-A-Grave
• Interview, 1988
• Antônio Carlos Jobim: Clube do Tom
• Remembering Antonio Carlos Jobim
• Tribute to Tom Jobim Website

João Gilberto
Background information
Birth name	João Gilberto Prado Pereira de Oliveira
Born	(1931-06-10) June 10, 1931 (age 81)
Origin	Juazeiro, Bahia, Brazil
Genres	Bossa nova, Samba, Brazilian jazz, Latin jazz
Occupations	Guitarist, singer, Songwriter
Instruments	Singer, guitarist
Years active	1950–present
Notable instruments
Guitar

João Gilberto Prado Pereira de Oliveira, known as João Gilberto (Portuguese pronunciation: [ˈʒwɐ̃w ʒiwˈbɛʁtu];^[1] June 10, 1931), is a Brazilian singer and guitarist. His seminal recordings, including many songs by Antônio Carlos Jobim and Vinicius de Moraes, established the new musical genre of Bossa nova in the late 1950s.

Biography[link]

João Gilberto was born in Juazeiro, Bahia. From an early age, music was a part of Gilberto's life. His grandfather bought him his first guitar at the age of 14. During high school, Gilberto teamed up with some of his classmates to form a small band. Gilberto, who led the band, was influenced by Brazilian popular songs, American jazz, and even some opera, among other genres. After trying his luck as a radio singer in Salvador, Bahia, the young Gilberto was recruited in 1950 as lead singer of the vocal quintet Garotos da Lua (Moon Boys) and moved to Rio de Janeiro. A year and a half later, he was dismissed from the group for his lack of discipline (he would often show up late to rehearsals or not at all).

João Gilberto's first recordings were released in Brazil as two-song 78-rpm singles between 1951 and 1959. In the 1960s, Brazilian singles evolved to the "double compact" format, and João would release some EPs in this new format, which carried 4 songs on a 45-rpm record.

For seven years, Gilberto's career was at a low ebb. He rarely had any work, was dependent on his friends for living quarters, and fell into chronic depression. Eventually, in 1955 he was rescued from this rut by Luiz Telles, leader of the vocal group Quitandinha Serenaders, who took him to Porto Alegre in southern Brazil. In this provincial town João Gilberto blossomed musically. Next he spent eight months with his sister in Diamantina, Minas Gerais,^[2] where he sequestered himself and played day and night in a little bathroom (because of the improved acoustic), forging a personal style for voice and guitar that would come to be known as bossa nova. The first bossa nova song, titled "Bim-Bom", was written as Gilberto watched passing laundresses on the banks of the São Francisco River balance loads of clothes on their heads.

Just after this time Gilberto's father, upset by João's bizarre singing style and refusal to take "normal" work, committed him to a mental hospital. In a psychological interview there, Gilberto stared out the window and remarked, “Look at the wind depilating the trees.” The psychologist replied, “But trees have no hair, João,” to which Gilberto responded, “And there are people who have no poetry.” He was released after a week. The next year (1956) he returned to Rio and struck up old acquaintances, most significantly Antonio Carlos Jobim, who was by then working as a composer, producer and arranger with Odeon Records. Jobim was impressed with Gilberto's new style of guitar playing, and set about finding a suitable song to pitch the style to Odeon management.

Bossa nova ("new style") is a refined version of samba, de-emphasizing the percussive aspect of its rhythm and enriching the melodic and harmonic content. Rather than relying on the traditional Afro-Brazilian percussive instruments, João Gilberto often eschews all accompaniment except his guitar, which he uses as a percussive as well as a harmonic instrument, incorporating the parts of different samba percussion instruments such as the tamborim and the surdo from a full batucada band. The singing style he developed is almost whispering, economical, and without vibrato. He creates his tempo tensions by singing ahead or behind the beat.

This style, which Gilberto introduced in 1957, created a sensation in the musical circles of Rio's Zona Sul, and many young guitarists sought to imitate it. It was first heard on record in 1958 in a recording of "Chega de Saudade", a song by Jobim and Vinicius de Moraes. Gilberto had first accompanied singer Elizeth Cardoso as her guitarist in a recording of this song, explaining his vision for the new style, but Cardoso would have none of his singing advice and sung it in the standard way. But shortly after this recording, João Gilberto made his own debut single of the same song, in the new style, followed by the 1959 LP, Chega de Saudade. The song () turned into a hit, launching Gilberto's career and the bossa nova craze. Besides a number of Jobim compositions, the album featured older sambas and popular songs from the 1940s and 1950s, all performed in Gilberto's distinctive style. This album was followed by two more in 1960 and 1961, by which time the singer featured new songs by a younger generation of performer/composers such as Carlos Lyra and Roberto Menescal.

By 1962, bossa nova had been embraced by North American jazz musicians such as Herbie Mann, Charlie Byrd, and Stan Getz, who invited Gilberto and Jobim to collaborate on what became one of the best-selling jazz albums of all time, Getz/Gilberto. Through this album, Gilberto's then wife Astrud -- who had never sung professionally prior to this recording session^[3] -- became an international star, and the Jobim/de Moraes composition "The Girl from Ipanema" became a worldwide pop music standard.

João Gilberto lived in the United States from 1962 until 1969, when he moved to Mexico for two years. There he recorded João Gilberto en México (1970). João Gilberto, aka the "White Album" (1973), featured hypnotic minimalist execution, limited to the singer, his guitar, and Sonny Carr on drums. 1976 saw the release of The Best of Two Worlds, a reunion with Stan Getz, featuring singer Miúcha, (sister of Chico Buarque), who had become Gilberto's second wife in April 1965. Amoroso (1977) backed Gilberto with the lush string orchestration of Claus Ogerman, who had provided a similar sound to Jobim's instrumental recordings in the late 1960s and early 1970s. As had been the case for all of Gilberto's albums, the album consisted mostly of Jobim compositions, mixed with older sambas and an occasional North American standard from the 1940s.

João Gilberto returned to Brazil in 1980. The following year saw the release of Brasil, with guests Gilberto Gil and Caetano Veloso, who in the late 1960s had founded the Tropicalia movement, a fusion of Brazilian popular music with foreign pop. The 1991 release João, with orchestrations by Clare Fischer, was unusual in its lack of even a single Jobim composition, instead featuring songs in English, French, Italian, and Spanish, plus old sambas and the solitary contemporary song "Sampa" (Caetano Veloso). Also released in 1991 was the album Canto do Pajé by Veloso's sister Maria Bethânia, on which Bethânia and Gilberto sing an intimate medley of "Maria" (Ary Barroso/Luiz Peixoto) and "Linda Flor"' (Henrique Vogeler/Luiz Peixoto/Marques Pôrto), accompanied solely by his guitar. João Voz e Violão (2000) was an homage to the music of Gilberto's youth as well as a nod to producer Caetano Veloso.

Evenly interspersed with these studio recordings have been the live recordings Live in Montreux; João Gilberto Prado Pereira de Oliveira; Eu Sei Que Vou Te Amar; Live at Umbria Jazz; and Live in Tokyo.

While all of Gilberto's albums since Getz/Gilberto have been released on CD, the first three domestic albums were released in 1988 by EMI on a single CD entitled The Legendary João Gilberto: The Original Bossa Nova Recordings (1958–1961). The disc also included three tracks from the singer's 1959 Orfeu Negro EP: "Manhã de Carnaval," O Nosso Amor, and A Felicidade, the latter two merged into a single medley track to fit within the recording time of a CD. After its release, Gilberto successfully sued to have the title removed from sale as an unauthorized release of his artistic works.

João Gilberto has long had a reputation as an artist who values his privacy. He lives in an apartment in Leblon, Rio de Janeiro, refusing interviews and avoiding crowds. He also has high standards for acoustics and noise control. He has been known to walk out on performances in response to audiences that interfere with the music by creating inappropriate noise, or out of theaters possessing poor acoustics; on several occasions he requested that the air conditioning be turned off at concert venues. During a recording session of the song "Rosa Morena" Gilberto insisted on 28 takes to get the pronunciation of the 'O' in "Rosa" just right.

He continues to perform, very occasionally, to sell-out crowds in Brazil as well as in Europe, North America, and Japan. His planned public performances in Madrid (2009) and New York (2010) were cancelled at short notice. He is the father of singer Bebel Gilberto (Isabel), via his marriage to Miúcha.

In 1997, João sued record label EMI over a reissuing of several of his early works which he contended were poorly remastered. According to The New York Times, "A statement by his lawyer at the time declared that the reissues contained sound effects that 'did not pertain to the original recordings, banalizing the work of a great artist.'" Following the incident, EMI ceased to manufacture the albums in question, and, as of 2008, the lawsuit is yet to reach a decision.

Eviction[link]

In January 2011, Gilberto was notified by the State Court to leave his apartment in Leblon, Rio de Janeiro, where he has lived for fifteen years. According to the property owner's lawyer Paulo Roberto Moreira Mendes, the property belongs to Georgina Brandolini d'Adda, who criticizes the eccentric behavior of the musician.^{[citation needed]}

Discography[link]

• 1951: Quando Você Recordar/Amar é Bom
• 1951: Anjo Crue/Sem Elal
• 1952: Quando Ela Sai/Meia Luz
• 1958: Chega de Saudade/Bim Bom
• 1958: Desafinado/Hô-bá-lá-lá
• 1959: Chega de Saudade
• 1960: O Amor, o Sorriso e a Flor
• 1961: João Gilberto
• 1961: Brazil's Brilliant João Gilberto
• 1962: João Gilberto Cantando as Musicás do Filme Orfeo do Carnaval
• 1962: Boss of Bossa Nova
• 1962: Bossa Nova at Carnegie Hall
• 1963: The Warm World of João Gilberto
• 1964: Getz/Gilberto
• 1965: Herbie Mann & João Gilberto with Antonio Carlos Jobim
• 1966: Getz/Gilberto Vol. 2
• 1970: João Gilberto en Mexico
• 1973: João Gilberto
• 1976: The Best of Two Worlds
• 1977: Amoroso
• 1977: Gilberto and Jobim
• 1980: João Gilberto Prado Pereira de Oliveira
• 1981: Brasil
• 1985: Interpreta Tom Jobim
• 1985: Meditação
• 1986: Live in Montreux
• 1987: Live in Montreux
• 1988: O Mito
• 1990: Stan Getz meets João & Astrud Gilberto
• 1991: João
• 1994: Eu Sei que Vou Te Amar
• 2000: João Voz e Violão
• 2002: Live at Umbria Jazz
• 2004: In Tokyo

-João Gilberto's first five records released from 1951-1958 were all 78 rpm single editions.

-The album João Gilberto released in 1970 is the same version as João Gilberto en Mexico in the same year but by different record companies.

-Live in Montreux from 1987 is the same version as the one released in 1986. The version in 1986 was released in Brasil whereas the 1987 one was released in USA. Both were recorded live.

References[link]

• [3], "João Gilberto's Pioneering Bossa Nova Records Are Caught In a Legal Limbo" by The New York Times
• [4], "The Man Who Invented Bossa Nova" by Daniella Thompson

Sources[link]

• Castro, Ruy (trans. by Lysa Salsbury). "Bossa Nova: The Story of the Brazilian Music That Seduced the World." 2000. 1st English language edition. A Capella Books, an imprint of Chicago Review Press, Inc. ISBN 1-55652-409-9 First published in Brasil by Companhia das Letras. 1990.
• McGowan, Chris and Pessanha, Ricardo. "The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil." 1998. 2nd edition. Temple University Press. ISBN 1-56639-545-3
• Gridley, Mark. Jazz Styles: History and Analysis. 9th. NJ: Pearson Prentice Hall, Print.

External links[link]

• Plain João—The Man Who Invented Bossa Nova, a biographical profile by Daniella Thompson
• João Gilberto Discography by Laura Pelner McCarthy
• João Gilberto Discography by SomBras (meanwhile a dead link)
• Nos bastidores do legendario concerto da bossa nova 1962
• The Brazilian Sound: Brazilian Music & Culture Website
• Bossa Nova Guitar Transcriptions (Mostly of songs performed by João Gilberto)
• João Gilberto Discography on Slipcue.com
• Joao Gilberto: The Early Records a special on Gilberto at the blog Worlds of Wanwood