Time: 59:38
Size: 136.5 MB
Styles: Bossa Nova, Brazilian jazz
Year: 2014
Art: Front
[4:12] 1. Desafinado
[2:09] 2. Bim Bom
[4:33] 3. Corcovado
[5:04] 4. Para Machuchar Meu Coração (To Hurt My Heart)
[3:36] 5. So Danço Samba
[2:51] 6. Um Abraço No Bonfá
[2:43] 7. Doralice
[5:49] 8. Only Trust Your Heart
[4:03] 9. Meditation (Meditação)
[2:16] 10. O Pato (The Duck)
[5:37] 11. Ligia
[6:01] 12. Pra Que Discutir Com Madam
[3:08] 13. Samba De Monha Terra
[2:52] 14. Vivo Sonhando (Dreamer)
[4:37] 15. Wave
Bossa nova, that most personal and international of Brazilian musical forms, has been blessed with numerous gifted composers. By far the greatest was Antonio Carlos (Tom) Jobim. Alone or in partnership with poet Vinicius de Moraes, fellow composer Newton Mendonça, and other illustrious collaborators, Jobim created some of the most famous and enduring bossa nova standards, such as “Garota de Ipanema,” “Desafinado,” and “Corcovado.”
Tom Jobim and Vinicius de Moraes, the seminal bossa nova songwriting team, met in 1956, but the songs they turned out at the time were not particularly innovative. For two years, Jobim/de Moraes tunes sounded like traditional samba-canção (samba-song, a slower and more lyrical version of samba). Nobody got particularly excited over them. Then a certain young singer and guitarist came out of nowhere to give these songs a new vocal interpretation and a new beat. The year was 1958, and the new beat was soon known throughout the world as bossa nova. That singer and guitarist was João Gilberto. His seductive vocals caressed the ear as well as the soul, while his guitar set an insouciant swinging rhythm going. The voice pulled in one direction, the beat in another. The combination was mesmerizing and highly addictive, refreshing and modern. It opened a new page in the history of popular music. Yet it all began at the most traditional roots.
Tom Jobim and Vinicius de Moraes, the seminal bossa nova songwriting team, met in 1956, but the songs they turned out at the time were not particularly innovative. For two years, Jobim/de Moraes tunes sounded like traditional samba-canção (samba-song, a slower and more lyrical version of samba). Nobody got particularly excited over them. Then a certain young singer and guitarist came out of nowhere to give these songs a new vocal interpretation and a new beat. The year was 1958, and the new beat was soon known throughout the world as bossa nova. That singer and guitarist was João Gilberto. His seductive vocals caressed the ear as well as the soul, while his guitar set an insouciant swinging rhythm going. The voice pulled in one direction, the beat in another. The combination was mesmerizing and highly addictive, refreshing and modern. It opened a new page in the history of popular music. Yet it all began at the most traditional roots.
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