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Bim Bom (or Bim and Bom^[1]) was a Moscow circus clown duo consisting of Ivan Radunsky (as Bim) and various "Boms" throughout the years. The clown act was enormously popular, but often banned or censored due to its satirical political content. Each act would begin with an original song and dance performed by Bim. The duo has been called "the most popular entertainment in Civil War Moscow".^[1]

Bim was always played by Radunsky, but Bom was played by several different individuals.

1. Vitaly Lazarenko

Radunsky had been a member of the Bolshevik Party and was a pledged member of the Futurist movement early on. However, after the October Revolution in 1917, the duo turned their wit against the new power. Bim Bom desisted from mocking the Bolsheviks only when their couplets so offended Latvian Riflemen in the audience that they shot up the circus and threatened to do the same to the clowns.^[1]

Bim Bom is mentioned in the 2007 documentary, "Russian Revolution In Color."

References[link]

• Leach, Robert. Revolutionary Theatre, Routledge, 1994, p. 5. ISBN 0-415-03223-7

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Look up BOM or bom in Wiktionary, the free dictionary.

BOM or bom may refer to:

Business[link]

• Bank of Maharashtra
• Bank of Mauritius
• Bank of Mongolia
• Board of Managers, or Board of Directors
• Bank of Melbourne (2011)

Science and Technology[link]

• Byte order mark (U+FEFF), a Unicode character
• Chloroalkyl ether abbreviation for benzyloxymethyl
• BOM (psychedelic), 3,4,5,beta-tetramethoxyphenethylamine, a psychedelic

Individuals[link]

• Lars Bom, Danish actor

Music[link]

• Park Bom, South Korean singer

Other[link]

• Barrel of Monkeys, idiom
• Barrel of Monkeys Productions, a Chicago-based arts-education organization
• Bernard O'Mahoney
• Brotherhood of Man, pop group
• Bill of materials
• Billings ovulation method, a method of fertility awareness
• BOM, the IATA airport code for Chhatrapati Shivaji International Airport, Mumbai (Bombay), India
• Book of Mormon
• Bom language, African language
• Box Office Mojo, an online box office tracker
• Builder's Old Measurement, a measure of a ship's cargo carrying capacity used by England until the mid-19th century
• Bureau of Meteorology (Australia)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

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.

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Sérgio Mendes
Sérgio Mendes in 2008.
Background information
Birth name	Sérgio Santos Mendes
Also known as	Santos Sergio
Born	(1941-02-11) February 11, 1941 (age 71) Niterói, Rio de Janeiro, Brazil
Origin	Rio de Janeiro, Brazil
Genres	Bossa nova, Latin jazz, jazz, Latino, disco
Occupations	Bandleader, pianist, composer, arranger, songwriter
Instruments	Piano
Years active	1962–present
Labels	Capitol, Atlantic, A&M, Elektra, will.i.am
Associated acts	The Black Eyed Peas, The Sergio Mendes Band, Sergio Mendes & Brazil '66

Sérgio Santos Mendes (Portuguese pronunciation: [ˈsɛχʒiu ˈsɐ̃tuʒ ˈmẽdʒiʃ]; born February 11, 1941^[1] in Niterói, Brazil) is a Brazilian musician. He has over fifty-five releases, and plays bossa nova heavily crossed with jazz and funk.^[1] He was nominated for an Academy Award for Best Original Song in 2012 as co-writer of the song "Real In Rio" from the animated film Rio.

Mendes is married to Gracinha Leporace who has performed with her husband since the early 1970s. He has collaborated with many artists through the years, including the Black Eyed Peas, with whom he re-recorded a version of his original breakthrough hit "Mas Que Nada".

Biography[link]

Early career[link]

The child of a physician in Niterói, Brazil, Mendes attended the local conservatory with hopes of becoming a classical pianist. As his interest in jazz grew, he started playing in nightclubs in the late-1950s just as bossa nova, a jazz-inflected derivative of samba, was emerging. Mendes played with Antonio Carlos Jobim (regarded as a mentor) and many U.S. jazz musicians who toured Brazil.

Mendes formed the Sexteto Bossa Rio and recorded Dance Moderno in 1961. Touring Europe and the United States, Mendes recorded albums with Cannonball Adderley and Herbie Mann and played Carnegie Hall. Mendes moved to the U.S. in 1964 and cut two albums under the Sergio Mendes & Brasil '65 group name with Capitol Records and Atlantic Records.

Sergio became full partners with Richard Adler, a Brooklyn-born American who had previously brought Bossa Trés plus two dancers, Joe Bennett and a Brazilian partner, to appear on the Ed Sullivan Show, in 1963. He was also accompanied by Antonio Carlos Jobim; Flavio Ramos, and Aloisio Olivera, a Record and TV producer from Rio. The Musicians Union, only allowed this group to appear on one TV show; one club appearance (Basin Street East) before ordering them to leave the U.S. When the new Group, Brasil '65 was formed, Shelly Mann, Bud Shank and other West Coast musicians, got Sergio and the others into the local Musicians Union. Adler and Mendes formed Brasil '65 which consisted of Jorge Ben, Wanda Sá, and Rosinha de Valença, as well as the Sergio Mendes Trio. The group recorded albums for Atlantic and Capitol.

Brasil '66[link]

When sales were tepid, he replaced his Brazilian born vocalist Wanda de Sá with the distinctive voice of Chicago native Lani Hall (who learned Mendes' Portuguese material phonetically), switched to Herb Alpert's A&M label, and released Herb Alpert Presents Sergio Mendes and Brasil '66, an album that went platinum based largely on the success of the single "Mas Que Nada" (a Jorge Ben cover) and the personal support of Alpert, with whom Mendes toured regularly.

The original lineup of Brasil '66 was Mendes (piano), vocalists Lani Hall and Bibi Vogel (later replaced by Janis Hansen), Bob Matthews (bass), José Soares (percussion) and João Palma (drums). John Pisano guested as guitarist. This new line-up including Hansen then recorded two more albums between 1966-1968 (including the best-selling Look Around LP), before there was a major personnel change for their fourth album Fool on the Hill.^[1]

Karen Philipp replaced Hansen as the second female vocalist, while veteran drummer Dom Um Romão teamed with Rubens Bassini to assume percussionist duties.Claudio Slon was to join the group as drummer in 1969, and played with Mendes for nearly a decade. Sebastiao Neto was the new bassist and Oscar Castro-Neves the guitarist. This line up had a more orchestrated and big band sound than their predecessors. Most significantly, in the early 1970s, lead singer Hall pursued a solo career and became Alpert's second wife.^[1] Some accounts claim that Mendes was upset with Alpert for years for "stealing" Hall away from his group.

Though his early singles with Brasil '66 (most notably "Mas Que Nada") met with some success, Mendes really burst into mainstream prominence when he performed the Oscar-nominated Burt Bacharach and Hal David song "The Look of Love" on the Academy Awards telecast in April 1968. Brasil '66's version of the song quickly shot into the top 10, peaking at #4^[2] and eclipsing Dusty Springfield's version from the soundtrack of the movie, Casino Royale. Mendes spent the rest of 1968 enjoying consecutive top 10 and top 20 hits with his follow-up singles, "The Fool on the Hill" and "Scarborough Fair." From 1968 on, Mendes was arguably the biggest Brazilian star in the world ^[1] and enjoyed immense popularity worldwide, performing in venues as varied as stadium arenas and the White House, where he gave concerts for both Presidents Lyndon B. Johnson and Richard Nixon.^[1] The Brasil '66 group appeared at the World Expo in Osaka, Japan in June 1970.

Middle career[link]

Mendes' career in the U.S. stalled in the mid-1970s, but he remained very popular in South America and Japan. His two albums with Bell Records in 1973 and 1974 followed by several for Elektra from 1975 on, found Mendes continuing to mine the best in American pop music and post-Bossa writers of his native Brazil, while forging new directions in soul with collaborators like Stevie Wonder, who wrote Mendes' R&B-inflected minor hit, "The Real Thing."

In 1983, he rejoined Alpert's A&M records and enjoyed huge success with a self-titled album and several follow-up albums, all of which received considerable adult contemporary airplay with charting singles. "Never Gonna Let You Go", featuring vocals by Joe Pizzulo and Leza Miller, equalled the success of his 1968 single "The Look of Love" by reaching #4 on the Billboard Hot 100 chart; it also spent four weeks atop the Billboard adult contemporary chart.^[2] In 1984 he recorded the "Confetti" album, which had the hit songs "Olympia", which was also used as a theme song for the Olympic games that year and "Alibis". The '80s also found Mendes working with singer Lani Hall again on the song "No Place to Hide" from the Brasil '86 album, and as producer for her vocals on the title song for the James Bond film Never Say Never Again.

By the time Mendes released his Grammy-winning Elektra album Brasileiro in 1992, he was the undisputed master of pop-inflected Brazilian jazz. The late-1990s lounge music revival brought retrospection and respect to Mendes' oeuvre, particularly the classic Brasil '66 albums.

Later career[link]

Timeless features a wide array of neo-soul and alternative hip hop guest artists, including The Black Eyed Peas, Erykah Badu, Black Thought, Jill Scott, Chali 2na of Jurassic 5, India.Arie, John Legend, Justin Timberlake, Q-Tip, Stevie Wonder and Pharoahe Monch. It was released February 14, 2006 by Concord Records.^[1]

The 2006 re-recorded version of "Mas Que Nada" with The Black Eyed Peas had additional vocals by Gracinha Leporace (Mendes' wife); this version is included on Timeless. In Brazil, the song is also well known for being the theme song for the local television channel Globo's Estrelas. The Black Eyed Peas' version contains a sample of their 2004 hit "Hey Mama". The re-recorded song became popular on many European charts. On the UK Singles Chart, the song entered at #29 and rose to and peaked at #6 on its second week on the chart.

Legacy and influences[link]

• Grammy Award-winning American jazz pianist Bill Cunliffe said Sergio Mendes's music, which he described as "jazz oriented", was an important influence in his playing style.^[3]

Discography[link]

• 1960: Dance Moderno
• 1963: Você Ainda Não Ouviu Nada! ("You Ain't Heard Nothin' Yet!") (Sergio Mendes & Bossa Rio) (later released as The Beat of Brazil)
• 1964: Bossa Nova York (Sergio Mendes Trio) (later released as The Swinger from Rio)
• 1965: Brasil '65 (Sergio Mendes Trio feat. Wanda Sá)
• 1966: Herb Alpert Presents: Sergio Mendes & Brasil '66
• 1966: In Person at El Matador (Sergio Mendes and Brasil '65)
• 1966: The Great Arrival
• 1967: Quiet Nights
• 1967: Equinox
• 1968: Look Around
• 1968: Sergio Mendes' Favorite Things
• 1968: Fool on the Hill
• 1969: Crystal Illusions
• 1969: Ye-Me-Lê
• 1970: Live at the Expo
• 1970: Stillness
• 1971: País Tropical
• 1972: Primal Roots (released in Brazil as Raízes)
• 1973: In Concert
• 1973: Love Music
• 1974: Vintage 74
• 1975: I Believe (released in the United States as Sergio Mendes)
• 1976: Homecooking
• 1977: Sergio Mendes and the New Brasil '77
• 1978: Pelé
• 1978: Brasil '88
• 1979: Magic Lady
• 1979: Horizonte Aberto (released in Brazil only)
• 1980: Alegria (European re-release of "Horizonte Aberto")
• 1983: Sérgio Mendes
• 1984: Confetti
• 1986: Brasil '86
• 1989: Arara
• 1992: Brasileiro
• 1996: Oceano
• 2006: Timeless
• 2008: Encanto
• 2010: Bom Tempo

References[link]

External links[link]

• Official website
• Sergio Mendes interview by Pete Lewis, 'Blues & Soul' July 2008
• "Sergio Mendes & Brasil '66/'77/etc. The Sérgio Mendes Discography." brasil66.com, 2006.
• "Sérgio Mendes." The Brazilian Sound: Brazil's Music & Culture, 13 July 2008.
• July 2009 Interview with L.A. Record

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