Time: 48:41
Size: 111.5 MB
Styles: Bossa Nova, Brazilian jazz
Year: 2014
Art: Front
[2:40] 1. The Girl From Ipanema
[2:48] 2. Agua De Beber
[2:52] 3. Corcovado (Quiet Nights Of Quiet Stars)
[3:31] 4. Águas De Março
[4:09] 5. Desafinado
[5:03] 6. Para Machuchar Meu Coracao
[2:45] 7. How Insensitive
[3:15] 8. Meditation
[2:14] 9. Samba De Uma Nota Só (One Note Samba)
[2:45] 10. Felicidade
[4:17] 11. Chega De Saudade
[3:49] 12. Quiet Nights Of Quit Stars
[2:19] 13. So Danco Samba (Jazz Samba)
[3:19] 14. O Morro Nao Tem Vez
[2:49] 15. Wave
It has been said that Antonio Carlos Brasileiro de Almeida Jobim was the George Gershwin of Brazil, and there is a solid ring of truth in that, for both contributed large bodies of songs to the jazz repertoire, both expanded their reach into the concert hall, and both tend to symbolize their countries in the eyes of the rest of the world. With their gracefully urbane, sensuously aching melodies and harmonies, Jobim's songs gave jazz musicians in the 1960s a quiet, strikingly original alternative to their traditional Tin Pan Alley source.
Jobim's roots were always planted firmly in jazz; the records of Gerry Mulligan, Chet Baker, Barney Kessel, and other West Coast jazz musicians made an enormous impact upon him in the 1950s. But he also claimed that the French impressionist composer Claude Debussy had a decisive influence upon his harmonies, and the Brazilian samba gave his music a uniquely exotic rhythmic underpinning. As a pianist, he usually kept things simple and melodically to the point with a touch that reminds some of Claude Thornhill, but some of his records show that he could also stretch out when given room. His guitar was limited mostly to gentle strumming of the syncopated rhythms, and he sang in a modest, slightly hoarse yet often hauntingly emotional manner. ~partial bio by Richard S. Ginnell
Jobim's roots were always planted firmly in jazz; the records of Gerry Mulligan, Chet Baker, Barney Kessel, and other West Coast jazz musicians made an enormous impact upon him in the 1950s. But he also claimed that the French impressionist composer Claude Debussy had a decisive influence upon his harmonies, and the Brazilian samba gave his music a uniquely exotic rhythmic underpinning. As a pianist, he usually kept things simple and melodically to the point with a touch that reminds some of Claude Thornhill, but some of his records show that he could also stretch out when given room. His guitar was limited mostly to gentle strumming of the syncopated rhythms, and he sang in a modest, slightly hoarse yet often hauntingly emotional manner. ~partial bio by Richard S. Ginnell
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Thanks for sharing.
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