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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

Lalo Schifrin
In concert with the Big Band of the Kölner Musikhochschule, 2006
Background information
Birth name	Boris Claudio Schifrin
Born	(1932-06-21) June 21, 1932 (age 80)
Origin	Buenos Aires, Argentina
Genres	Bossa nova, jazz, bebop, rock
Occupations	Pianist, composer, conductor
Instruments	Piano
Years active	1950 – present
Labels	Tico, Roulette, Audio Fidelity, MGM, Verve, Colpix, Colgems, Dot, Warner Bros., Paramount, EntrActe, CTI, Tabu, Palo Alto, Atlantic, Aleph

Lalo Schifrin (born June 21, 1932)^[1] is an Argentine composer, pianist and conductor. He is best known for his film and TV scores, such as the "Theme from Mission: Impossible". He has received four Grammy Awards and six Oscar nominations. Schifrin, associated with the jazz music genre, is also noted for work with Clint Eastwood in the late 1960s, 1970s and 1980s, particularly the Dirty Harry films.

Biography[link]

Schifrin was born Boris Claudio Schifrin in Buenos Aires to Jewish parents.^[2] His father, Luis Schifrin, led the second violin section of the orchestra at the Teatro Colón for three decades.^[1] At the age of six, Schifrin began a six-year course of study on piano with Enrique Barenboim, the father of the pianist and conductor Daniel Barenboim. At age 16, Schifrin began studying piano with the Greek-Russian expatriate Andreas Karalis, former head of the Kiev Conservatory, and harmony with Argentine composer Juan Carlos Paz. During this time, Schifrin also became interested in jazz.

Although Schifrin studied sociology and law at the University of Buenos Aires, it was music that captured his attention.^[1] At age 20, he successfully applied for a scholarship to the Paris Conservatoire. While there, he attended Olivier Messiaen's classes and formally studied with Charles Koechlin, a disciple of Maurice Ravel. At night he played jazz in the Paris clubs. In 1955, Schifrin played piano with Ástor Piazzolla and represented his country at the International Jazz Festival in Paris.

After returning home to Argentina, Schifrin formed a jazz orchestra, a 16-piece band that became part of a popular weekly variety show on Buenos Aires TV. Schifrin also began accepting other film, television and radio assignments. In 1956, Schifrin met Dizzy Gillespie and offered to write an extended work for Gillespie's big band. Schifrin completed the work, Gillespiana, in 1958^[1] (it was recorded in 1960). Later that year Schifrin began working as an arranger for Xavier Cugat's popular dance orchestra.

While in New York in 1960, Schifrin again met Gillespie, who had by this time disbanded his big band for financial reasons. Gillespie invited Schifrin to fill the vacant piano chair in his quintet. Schifrin immediately accepted and moved to New York City. Schifrin wrote a second extended composition for Gillespie, The New Continent, which was recorded in 1962. In 1963, MGM, which had Schifrin under contract, offered the composer his first Hollywood film assignment with the African adventure, Rhino!.^[1] Schifrin moved to Hollywood late that year. He also radically re-arranged the theme for the popular NBC-TV series The Man from U.N.C.L.E., altering original composer Jerry Goldsmith's theme to a jazzy melody emphasizing flutes and exotic percussion, which wound up winning the Emmy award for Best TV Theme in 1965.

One of Schifrin's most recognizable and enduring compositions is the theme music for the long-running TV series Mission: Impossible. It is a distinctive tune written in the uncommon 5/4 time signature.

Schifrin's "Tar Sequence" from his Cool Hand Luke score (also written in 5/4) was the longtime theme for the Eyewitness News broadcasts on New York station WABC-TV and other ABC affiliates, as well as National Nine News in Australia. CBS Television used part of the theme of his St. Ives soundtrack for its golf broadcasts in the 1970s and early 1980s.

Schifrin's score for Coogan's Bluff in 1968 was the beginning of a long association with Clint Eastwood and director Don Siegel. Schifrin's strong jazz blues riffs were evident in Dirty Harry and, although similar to Bullitt and Coogan's Bluff, the score for Dirty Harry stood out for the sheer fear it generated when released.^{[citation needed]}

Schifrin's working score for 1973's The Exorcist was rejected by the film's director, William Friedkin. Schifrin had written six minutes of difficult and heavy music for the initial film trailer, but audiences were reportedly frightened by the combination of sights and sounds. Warner Bros. executives told Friedkin to instruct Schifrin to tone it down with softer music, but Friedkin did not relay the message. Schifrin's final score was thrown out into the parking lot. Schifrin reported in an interview that working with Friedkin was one of the most unpleasant experiences in his life.^[3]

In the 1998 film Tango, Schifrin returned to the tango music he had grown familiar with while working as Ástor Piazzolla's pianist in the mid-1950s. He brought traditional tango songs to the film as well as introducing compositions of his own in which tango is fused with jazz elements.^[4]

In 1997, the composer founded Aleph Records.^[5]

He also wrote the main theme for Splinter Cell: Pandora Tomorrow.

Schifrin made a cameo appearance in Red Dragon (2002) as an orchestra conductor.

He is also widely sampled in hip-hop and trip-hop songs, such as Heltah Skeltah's "Prowl" or Portishead's "Sour Times". Both songs sample Schifrin's "Danube Incident", one of many themes he composed for specific episodes of the Mission: Impossible TV series.

On April 23, 2007, Lalo Schifrin presented a concert of film music for the Festival du Film Jules Verne Aventures (aka Festival Jules Verne), at Le Grand Rex theatre in Paris, France – Europe's biggest movie theater – that was caught superbly by Festival leaders for a 73 and a half minute CD named "Lalo Schifrin: Le Concert à Paris."

In 2010, a fictionalised account of Lalo Schifrin's creation of the Mission: Impossible tune was featured in a Lipton TV commercial aired in a number of countries around the world.^[6]

Alternative hip hop group Blue Scholars recorded at track entitled "Lalo Schifrin" on their third album Cinemetropolis (2011).

Awards[link]

To date, Lalo Schifrin has won four Grammy Awards (with twenty-one nominations), one Cable ACE Award, and received six Oscar nominations, and has a star on the Hollywood Walk of Fame.

Discography[link]

Albums[link]

• 1957: Spectrum (Epic)
• 1959: Piano Español (Tico) reissued as Lalolé: The Latin Sound of Lalo Schifrin (Roulette)
• 1962: Lalo = Brilliance (Roulette)
• 1962: Bossa Nova: New Brazilian Jazz (Audio Fidelity)
• 1962: Piano, Strings and Bossa Nova (MGM)
• 1963: Samba Para Dos with Bob Brookmeyer (Verve)
• 1963: Between Broadway & Hollywood (MGM)
• 1964: Explorations with Louis Bellson (Roulette)
• 1964: New Fantasy (Verve)
• 1965: Once a Thief and Other Themes (Verve)
• 1966: The Dissection and Reconstruction of Music From the Past as Performed By the Inmates of Lalo Schifrin's Demented Ensemble as a Tribute to the Memory of the Marquis De Sade (Verve)
• 1968: There's a Whole Lalo Schifrin Goin' On (Dot)
• 1971: Rock Requiem (Verve)
• 1976: Black Widow (CTI)
• 1977: Towering Toccata (CTI)
• 1978: Gypsies (Tabu)
• 1979: No One Home (Tabu)
• 1982: Ins and Outs (Palo Alto)
• 1992: Jazz Meets the Symphony (Atlantic)
• 1993: More Jazz Meets the Symphony (Atlantic)
• 1995: Firebird: Jazz Meets the Symphony No. 3 (Four Winds)
• 1996: Gillespiana (Aleph)
• 1998: Jazz Mass in Concert (Aleph)
• 1998: Metamorphosis: Jazz Meets the Symphony #4 (Aleph)
• 1999: Mannix (Aleph)
• 1999: Latin Jazz Suite (Aleph)
• 1999: Jazz Goes to Holywood (Aleph)
• 1999: The Fox (Aleph)
• 2000: Esperanto (Aleph)
• 2000: Bullitt (Aleph)
• 2000: Intersections: Jazz Meets the Symphony #5 (Aleph)

Soundtrack albums[link]

• 1964: Gone with the Wave (soundtrack) (Colpix)
• 1965: The Liquidator (soundtrack) (MGM)
• 1965: The Cincinnati Kid (soundtrack) (MGM)
• 1966: Murderer's Row (soundtrack) (Colgems)
• 1967: Cool Hand Luke (soundtrack) (Dot)
• 1967: Sol Madrid (soundtrack) (MGM)
• 1967: Music from Mission: Impossible (Dot)
• 1968: The Fox (soundtrack) (Warner Bros.)
• 1968: More Mission: Impossible (Paramount)
• 1968: Mannix (Paramount)
• 1968: Bullitt (soundtrack) (Warner Bros.)
• 1969: Che! (soundtrack) (Tetragrammaton)
• 1970: Kelly's Heroes (soundtrack) (MGM)
• 1973: Enter the Dragon (soundtrack) (Warner Bros.)
• 1977: Voyage of the Damned (soundtrack) (Entr'Acte)
• 1977: Rollercoaster (soundtrack) (MCA)

Albums featured[link]

With Cannonball Adderley

• The Cannonball Adderley Quintet & Orchestra (Capitol, 1970) - composer, conductor and arranger

With Maurice André

• Trompettissimo (Erato, 1994) - arranger and conductor

With Count Basie

• Back with Basie (Roulette, 1962)

With Louis Bellson

• Thunderbird (Impulse!, 1965) - arranger

With Luiz Bonfá

• Luiz Bonfa Plays and Sings Bossa Nova (Verve, 1963) - arranger

With Candido Camero

• Conga Soul (Roulette, 1962) - piano, composer, arranger

With José Carreras, Placido Domingo and Luciano Pavarotti

• The Three Tenors in Concert (London, 1990) - arranger
• The Three Tenors in Concert 1994 (Atlantic, 1994) - arranger
• The 3 Tenors - Paris 1998 (Atlantic, 1998) - arranger

With Dizzy Gillespie

• Gillespiana (Verve, 1960) - composer, piano and arranger
• An Electrifying Evening with the Dizzy Gillespie Quintet (Verve, 1961) - piano
• Carnegie Hall Concert (Verve, 1961) - piano
• A Musical Safari (1961) - piano
• Dizzy on the French Riviera (Philips, 1962) - piano, composer and arranger
• New Wave (Philips, 1962) - piano, arranger
• The New Continent (Limelight, 1962) - piano, composer and arranger
• Something Old, Something New (Philips, 1963) - arranger
• Dizzy Gillespie and the Double Six of Paris (Philips, 1963) - arranger
• Free Ride (Pablo, 1977) - keyboards, composer, arranger and conductor

With Eddie Harris

• Bossa Nova (Vee-Jay, 1962) - piano, composer, arranger

With Al Hirt

• Latin in the Horn (RCA Victor, 1966) - conductor and arranger

With Jimmy Smith

• The Cat (Verve Records, 1964) - conductor and arranger
• The Cat Strikes Again (LaserLight Records, 1980)

With Sarah Vaughan

• Sweet 'n' Sassy (1963 Roulette Records)

With Cal Tjader

• Several Shades of Jade (Verve Records, 1963)

With Paul Horn

• Jazz Suite on the Mass Texts (RCA Records, 1965)

Films scores[link]

• 1964: Rhino!
• 1965: The Cincinnati Kid
• 1965: The Liquidator
• 1965: Once a Thief
• 1966: Murderers' Row
• 1967: The Fox
• 1967: The President's Analyst
• 1967: Cool Hand Luke
• 1968: Bullitt
• 1968: The Brotherhood
• 1968: Hell in the Pacific
• 1968: Coogan's Bluff
• 1968: Where Angels Go, Trouble Follows
• 1969: Che!
• 1970: Kelly's Heroes
• 1970: WUSA
• 1971: THX 1138
• 1971: The Beguiled
• 1971: Dirty Harry
• 1971: The Hellstrom Chronicle
• 1971: Pretty Maids All in a Row
• 1972: Prime Cut
• 1972: Joe Kidd
• 1972: Rage
• 1972: The Wrath of God
• 1973: Magnum Force
• 1973: Enter the Dragon
• 1973: Charley Varrick
• 1973: Harry in Your Pocket
• 1973: Hit!
• 1974: The Four Musketeers
• 1976: The Eagle Has Landed
• 1976: Voyage of the Damned
• 1977: Rollercoaster
• 1977: Telefon
• 1978: Return from Witch Mountain
• 1978: The Cat from Outer Space
• 1978: The Manitou
• 1979: The Amityville Horror
• 1979: Escape to Athena
• 1979: The Concorde ... Airport '79
• 1979: Boulevard Nights
• 1979: Love and Bullets
• 1980: Brubaker
• 1980: The Big Brawl
• 1980: When Time Ran Out
• 1980: The Competition
• 1980: Serial
• 1980: The Nude Bomb
• 1981: Caveman
• 1981: Loophole
• 1982: Amityville II: The Possession
• 1982: The Seduction
• 1983: Sudden Impact
• 1983: The Osterman Weekend
• 1983: Doctor Detroit
• 1983: The Sting II
• 1984: Tank
• 1985: Bad Medicine
• 1985: The Mean Season
• 1986: The Ladies Club
• 1986: Black Moon Rising
• 1987: The Fourth Protocol
• 1988: The Dead Pool
• 1989: Return From the River Kwai
• 1991: F/X2
• 1993: The Beverly Hillbillies
• 1996: Scorpion Spring
• 1997: Money Talks
• 1998: Tango
• 1998: Rush Hour
• 1998: Something to Believe In
• 2001: Rush Hour 2
• 2003: Bringing Down the House
• 2004: The Bridge of San Luis Rey
• 2004: After the Sunset
• 2006: Abominable
• 2007: Rush Hour 3

Television scores[link]

• 1964: The Man from U.N.C.L.E.
• 1965: The Big Valley
• 1966: T.H.E. Cat
• 1967: Mission: Impossible
• 1967: Mannix
• 1969: Medical Center
• 1974: Planet of the Apes
• 1975: Starsky and Hutch
• 1976: Most Wanted
• 1982: Chicago Story
• 1984: Glitter
• 1987: Sparky's Magic Piano

References[link]

External links[link]

• Lalo Schifrin's official website
• Lalo Schifrin at the Internet Movie Database
• Cinema Retro attends Lalo Schifrin's London concert
• Aleph Records Discography - record label operated by Schifrin
• Two Interviews with Lalo Schifrin by Bruce Duffie (June 23, 1988, and October 9, 2003)
• Lalo Schifrin Interview for WeirdMusic.net / UKtop40Charts.com Magazine

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

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Susan Wong
Ancestry	Hong Kong
Origin	Hong Kong
Born	Hong Kong
Occupation	Singer
Genre(s)	pop,
Instrument(s)	Piano
Years active	2003 - present

Susan Wong is a Hong Kong English language singer.

Biography[link]

She was born in Hong Kong,^[1] and immigrated to Sydney, Australia with her family at the age of seven. Musically inclined from a young age, she learned to play the piano at age five and later she also learned the violin. At Kambala Girls School in Sydney, she sang alto in the choir and appeared in the school dramas (Gilbert & Sullivan & the like) and entered a number of piano competitions. She received an associate diploma (ATCL) in piano from Trinity College London.

Her first break in the music world was at the age of sixteen when her parents entered her for a singing contest in Sydney. It was organized by TVB with the winner to be offered a recording contract with one of the big music companies in Hong Kong. She won the competition and went to Hong Kong, where she met with the TVB producers who wanted her to sign with one of the music labels. After much deliberation she decided that a music career wasn’t right for her at that time and instead returned to Australia to study at University.

After graduating from university, she returned to Hong Kong in 1997 to help run her family’s accounting business; at this time, she gained her CPA certification. One of her students, who she was teaching piano, was working for a Hong Kong independent label, and Susan asked the boss if they wanted a singer. Susan started recording her favourite English songs and made the album ‘Close To You’. When the album came out in 2002, it was widely acclaimed and quickly became a favourite of music stores to play. The album was soon climbing up the sales charts in countries like [Hong Kong, Singapore, Thailand and Indonesia. The four album releases since ‘Close To You’ have also enjoyed wide critical and commercial success establishing Susan as probably the No. 1 selling English language female singer of her genre throughout South East Asia.

In early 2007, Susan Wong signed a new recording agreement with Hong Kong based Evolution Limited and released her first album under Evolution in August 2007.

The first release under this agreement, Someone Like You,^[2] was recorded in Nashville, USA and was quick to win critical and commercial success throughout S.E. Asia. The success of the SACD version in particular bore testament to the fine production, vocal performance and mastering by Grammy award winning engineer Doug Sax. The album was domestically released in Japan in September 2008.

511 2009[link]

In summer 2008, Susan began working on fresh ideas for her follow-up album. In September 2008 Susan travelled to Geneva, Switzerland to work on demos with producer Adrien Z. As Susan explained “He brought my music ideas to life. He was able to transform the songs I want to sing into the styling which I dare tried.” The album recording was completed in February/March 2009. In her blog, Susan said of the album; “I guess I took a "more hands on" approach with this album, more than any of the previous ones, as I felt the need to voice out my persona, be more individualistic and independent for my work.” Susan’s bossa nova inspired version of Michael Jackson’s Billie Jean received a lot of attention and radio play and the album sold widely across the region.

Inspired by the positive feedback to 511, Susan was anxious to start working on her next album and within months of the release of 511 she was forming ideas for new recordings, choosing again to work with producer Adrien Zerbini and arranger Ignacio Lamas. With songs for the albums mostly coming from the late 1960s/early 1970s, Susan and her band worked on a relaxed, natural acoustic pop feel, led by Ignacio’s guitar playing.

Track List

1 September

02 I'm Not In Love

03 You Are So Beautiful

04 Home

05 Umbrella

06 Blame It On The Boogie

07 Everytime You Go Away

08 Billie Jean

09 Empty Room

10 Windmills Of My Mind

11 It Ain’t Over ‘Til It’s Over

12 Saving All My Love For You

13 The Winner Takes It All

The 13 track album features interpretations of Umbrella and Billie Jean as well as a bossa nova influenced version of Earth Wind & Fire's September.