10 most influential - Brazilian Music Foundation

10 most influential - Brazilian Music Foundation

10 most influential - Brazilian Music Foundation


10 most influential - Brazilian Music Foundation



10 most influential - Brazilian Music Foundation

3 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Editor’s Note Itis with great pleasure that we are launching the 12th edition of Bossa Magazine with a great theme, a subject that is for us Brazilians a topic of great pride and admira- tion, "60 years of Bossa Nova." Bossa Nova was a vehicle for the propagation of Brazilian music and culture around the world, it led the music to a plateau never before achieved. The summer of 1958 was the year of Bossa Nova. Sixty years ago, a movement of melody, harmony, lyrics, and rhythm sent a fresh wave of sound throughout Brazil.

September 22, 1958 was the first Samba Session where a Bossa Nova Group was introduced. Since then Bossa Nova has won the world stage, conquered by a small group of idealistic musicians — including Antonio Carlos Jobim, Vinicius de Moraes, Johnny Alf, João Donato, João Gilberto, Nara Leão, Silvinha Telles, Roberto Menescal, Carlos Lyra, Baden Powell, Luiz Bonfá, Sérgio Mendes, and a handful of others — who would write some of the most enduring mel- odies in music history. They have their names etched in gold in Brazilian musical history.

Bossa Nova is now heard in various parts of the world and is one of the major representatives of Brazil on the world stage. When a foreigner is asked about what he knows of Brazilian culture, doesn’t he often hum "Girl from Ipanema" as an answer. Aware of the relevance of this event to our culture, we feel that it is essential to highlight this expan- sion to other countries, especially to the United States. We are presenting a synthesis of what was the Bossa Nova movement, a brief summary of the most important moments in the history of Bossa Nova. It is very likely that some important moments have not been mentioned in this issue and we apologize for missing them.

But we will continue adding information to this edition until we have the complete history, we know it will take us months to include every moment of its history.

Today, many of Bossa Nova’s originators, including Tom Jobim, Vinícius de Moraes, Johnny Alf, Silvinha Telles, Luiz Bonfá, and Baden Powell, are long gone (The 86-year-old Gilberto isn’t, but he rarely performs.). And yet, six decades later, the music they created still has a hold on the world. We are thrilled to include the profiles of the 10 most influential Bossanovists that were responsible for presen- ting Bossa Nova to the world. Also, in this edition, there is an interview with Ana Flavia Zuim and her trajectory since her first performances in churches in her city to the great musical "Hamilton" on Broadway.

This month, we continue presenting the “Brazilian Percus- sion Series”, with stories and insights from Portinho and Paulo Braga, ( drummers and percussionists) who proudly showcase Brazilian Jazz in New York City and globally. In our series of interviews about “The Citizens of Brazilian Music” , a way to warmly refer to musicians promoting Brazilian Music in United States, we will include an inter- view with pianist, Roger Davidson. Bossa Magazine welcomes the generosity of new contribu- tors who offered their stories for this edition. We also recog- nize and appreciate everyone (our unsung heroes) helping behind the scenes: "Thank you, Gracias, Merci and Obrigado”! We appreciate your continued support of Bossa Magazine's mission which is to promote, educate, and advance Brazilian Art and Music worldwide.

If you would like to contribute content for future publica- tions, kindly email to: info@bossamagazine.com. Thank you all for your support! Madalena Sousa Brazilian Music Foundation Founder/President/CEO Bossa Magazine Founder/Editor In Chief

10 most influential - Brazilian Music Foundation

4 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 BOSSA MAGAZINE PROMOTES Exhibitions , Concerts, Interviews, Reviews, History, Education, Lectures, Workshops, and more… Brazilian Art and Music ONLINE MAGAZINE Editorial team Madalena Sousa: Editor In Chief/Designer Contributors Mila Schiavo Proofreading James Lemos Cristine Larson Become one of our collaborators! Contact: info@bossamagazine.com www.bossamagazine.com Supported by: Brazilian Music Foundation Published by: Asuos Productions

10 most influential - Brazilian Music Foundation


10 most influential - Brazilian Music Foundation


10 most influential - Brazilian Music Foundation

7 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 ADVERTISE YOUR PRODUCTS AND SERVICES TO OVER 3 MILLOREADERS! _ _ Specifications Deadline—15th of the month prior. Preferred art work—Press ready .pdf format - for price kit please contact: info@bossamagazine.com Salon 4310 34th Ave Long Island City, NY 11101 (718) 707-0005 www.dmsalonnyc.com Worldwide reference in playalong songbooks of the Brazilian instrumental music! https://www.choromusic.com 1/4 Regular 4 1/8(H) x 2 3/4(W) Single Full page 8 1/2(H) x 5 1/2(W) Half page horizontal 4 1/8(H) x 5 1/2(W) 1 out of every 5 readers Spends over $800 on direct response products and ser- vices per year.

_ _ Reach all types of audience. Art and Music is overall the most advertised services in the world. Millions of peo- ple are connected to either one or both. _ _ 1/8 Regular 2 1/16(H) x 2 3/4(W) BOSSA MAGAZINE Digital Advertising Kit ADVERTISE YOUR PRODUCTS AND SERVICES TO OVER 3 MILLION READERS! 1 out of every 5 readers spends over $800 on direct response products and services per year. — — Expose your business around the world through MUSIC! — — Reach out to readers from all over the world. New York City is a Mecca for Music and a great place to network. — — info@bossamagazine.com Tel. ( 917) 400-1578 Ask about our FIRST-TIME ADVERTISER DISCOUNTS 1/2 Vertical 8 1/2(H) x 2 3/4(W)

10 most influential - Brazilian Music Foundation


10 most influential - Brazilian Music Foundation


10 most influential - Brazilian Music Foundation

10 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Atage twelve Ana Flavia Zuim started playing keyboard and singing at a church in her hometown, Mandaguari, Parana, Brazil. Should she’ve had her way she would’ve started earlier.

It all began with a piano kept at home by the parents, which she began exploring since an early age before she was allowed to begin taking piano lessons at age 8. When the time came for her to apply for college the pressure from friends made consider other careers but no other area attracted her. While discouraged by many, who said that she was choosing a career that would be faced by many challenges and low financial compensation, Ana chose to follow her calling and pursue music. The challengers were indeed many and the road was filled with doubt during challenging times, but the motivation to do her best keep her hoping for better opportunities and she entered through every open door that appeared in front of her.


FROM CHURCH TO BROADWAY A MAJOR CAREER JUMP FOR ANA FLAVIA ZUIM Photo credit: nyu.edu/about/news-publications

11 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Yes, she made the right choice! Since then her life has changed from water to wine!” She said! To better understand this water-to- wine process, Ana Flavia agreed to be interviewed by Bossa Magazine and talked about career and work in the United States. - Interview by Madalena Sousa You studied classical piano, sang in church choir and also learned electric bass, where you performed in a band.

Has this musical diversity caused you any doubts in which way to take your musical career? Absolutely! I was always passionate about music, but the classical tradi- tion was the only types of degrees made available for young musicians like myself. When playing at church and in popular bands I found myself learning an entire different language, playing by chord symbols, and dealing with transposition in a way that I wasn’t accustomed to in classi- cal training. However, while I learned both at the same time it felt like a natural process to integrate one with the other. I just didn’t know what to do with it because I wasn’t intro- duced to musical theatre until the age of 23.

When I discovered how musical theatre intertwined tradi- tions of both classical as well as popular music I was marveled and excited to learn more. I didn’t have knowledge of repertoire or musical theatre history and tradition, so I had a lot of catching up to do before going on my first tour with Billy Elliot. I’ve played and conducted over 50 musicals prior to that. What at first seemed to me as a very diverse background ended up serving me well as a musical director later.

Tell us a little about the beginning of your music career. In college I played with various bands, played church and at weddings. I worked with the duo João Marcio & Fabiano and in a female band called Hi-Fi. Which artist inspired you the most growing up? I didn’t have one particular artist growing up, but I always enjoyed playing chorinhos and listening to Brazilian Jazz, Tom Jobim being among my favorites. There is something about the har- monic progressions used by Djavan that fascinated me and I used to spend hours transcribing his songs and figuring out the inversions of the chords he was using.

I still have a xerox copy of a book I put together from his lyrics and chords found online.

How did you get the idea of coming to the United States? I came to US in 2003 to visit my father who was living in Florida at the time. I had just graduated college and had planned to stay in the US only for two months. Upon arriving in Florida I found out about Lynn University and longed to study with Dr. Roberta Rust, but the selection process was very competitive. Even so I decided to take a chance and with the grace of God I passed and earned a schol- arship to earn a master's degree in piano performance. I’ve graduated from Lynn University in 2006, and then went on to pursue a PhD in Fine and Performing Arts from FAU [Florida Atlantic University.

After many challenges along the way, I finally concluded the PhD in 2012, only a few months prior to embarking on the tour of Billy Elliot. It couldn’t have been more perfect timing.

Did you write or co-write any book in vocal performance? No, not yet, but have a few ideas for the future. How did you get involved in musical theater? It all happened by accident when I was pursuing my Master’s and my mentor said that the choir was in need of an accompanist; however, the rehearsals began that very evening, and I was unaware that she had also reached out to another pianist. I jumped at the opportunity and arrived early and ready to work. The other pianist arrive exactly on time and by that point we had already began looking at material and began rehearsal promptly on time, so I ended up getting the gig.

This was a huge lesson for me and one I share with my students always by quoting the popular saying: “if you are early you are on time, and if you are on time you are late.” This experience literally changed the course of my life, because it was from there that that same conductor, Dr. Carl Ashley, invited me to play piano in the pit for his high school production of The King and I. Dr. Ashley and I worked on several productions together and it was a huge school for me.

How was the experience working with the musical The Billy Elliot? The show, Billy Elliot, won several awards and after the show’s success on Broadway a tour was launched. I joined the second National Tour in 2012, and began as rehearsal pianist and later became the Assistant Conductor of the tour. I traveled with the show for a little over a year in the USA, Canada and also São Paulo, Brazil. After this tour, I’ve had the privilege of serving as Musical Director on the Ogunquit Playhouse produc- tion of the show, for which I’ve earned an IRNE award for best musical director in 2015. I later music directed the show at the Maltz Jupiter Theatre and was nominated for a Carbonell Award in 2016.

Throughout this journey I’ve learned a lot, not only about the score in itself, but also about my abilities to lead singers and musicians. Some of these lessons I will carry for life and they made me a better person in addition to enriching my musical horizons.

The US, especially New York, are a world reference in terms of artistic activity, was it difficult to conquer your professional career there? It was not easy for the competition is enormous. As everything in my ca- reer up to my moving to New York, it was the recommendation of people who knew my work that got me to the positions I later enjoyed and learned from. Similarly to how I was recommended by Jon Rose for the Billy Elliot tour happened with Hamilton, when Alex Lacamoire (with whom I had worked in Florida as rehearsal pianist for a concert entitled “Viva Broadway”) gave me the opportunity to join the music team.

She graduated in Music from the State University of Londrina (UEL) and moved to the United States immediately after (2003). A trip that was meant to be a quick visit to her dad living in Florida at the time turned into an earned scholarship to pursue a Master's degree. Now, 15 years later, she holds a master's in piano performance (Lynn University, 2006), a PhD in Fine and Performing Arts (Florida Atlantic University, 2012) - and a Vocology certifica- tion (University of Utah, 2015) and works as musical director, conductor pianist, vocologist and electric bass player. The award-winning musical director now serves as Director of Vocal Performance at the Steinhardt School, B e l i e v e i t !

By Madalena Sousa Editor In Chief continue.... UP CLOSE & PERSONAL INTERVIEW ANA FLAVIA ZUIM

12 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Being in New York and working with so many talented professionals keeps you on your A game and it motivates you to improve and grow constantly and contin- ually. In thinking about your artistic journey, how has your experience as a musical performer influenced your teaching style with your students? Having those experi- ences allowed me to look at the big picture and help students identify the gaps in their training instead of being caught up on tradition for tradition sake, but rather use tradition as part of the training while they are honing their tech- nique and performance skills.

It allowed me to help guide them to a successful level of communication through music while focusing both on technical abilities as well as on a truthful delivery of text. You have a diverse skill set, what kind of work most fascinates you? What I love the most is working with people and learning from others. I truly love music directing because it is where I get to tap into many of the skills I’ve been honing throughout my life and career, and it is also the most rewarding community experience where I get to work with so many singers and musicians and make music together. While growing up some people would tell me that I had so many interests (piano, bass, voice, conducting) that I would never be able to fully focus on anything.

However, I find that all these interests have given me a greater ability to focus on detail and equipped me to enjoy diverse opportunities and play a myriad of musi- cal styles. I truly enjoy the rehearsal process, even more than an actual perfor- mance, because it is then that I have the opportunity to make music with others and create the final sound that till then it is only abstract in my mind. I find it to be a surreal experience when you finally hear the sound you envision and witness a room full of musicians playing so in sync; it is almost as if every heart in the room is beating at the same pulse for a moment in time.

How did being Brazilian influenced your career? Besides the richness of the expe- riences with Brazilian music and all the positive aspects of how the Brazilian culture and tradition influenced my music, there were challenges related to lan- guage. I grew up in a very small town where I didn’t have the resources or opportunity to learn a second language. This became the first great barrier upon arriving in the US at age 23, for I had to learn English and learn it fast to pass the Toefl exam in order to continue in the master’s program. When my career was already established, being Brazilian and able to interact with professionals from Brazil was a great gift and allowed me to open my horizons while investigating the implications that translated material (English - Portuguese or vice-versa) have on the singing voice due to vowel choices across the vocal range.

How does Brazilian Music takes place in your work? Do you apply any Brazilian rhythm in your vocal classes? The richness of rhythm and harmonic structure of Brazilian music greatly influences the way I play groove, so I can say that it is hard to dissociate all I’ve learned with Brazilian music; it is part of who I am and continues informing everything I do. When teaching syncopation and 16th note subdivision to students, Brazilian rhythms are a great tool. I’ve had instances of students not only wanting learn how to sing in Portu- guese but also needing to do so for audi- tions at Cirque du Soleil as well as other gigs.

It always feels like home when I get to work on Brazilian repertoire with a student.

Is there any goal you still dream of achieving? Most definitely. It feels like I’m only begin- ning and sometimes I find myself being just like the little girl I was, confused and curious to see where music was going to take me next. I guess this is just how it goes when you are in the business of creating something as abstract and as concrete at the same time as music. It feeds the mind and the soul and it is an unexpected road to be followed and explored. If you had stayed in Brazil would your career have developed like in the US? It is hard to predict, but I believe I would most likely not have gotten the chance to work and learn more about American Musical Theatre, for the Musical Theatre market in Brazil is still relatively small.

Here, both high schools and Universities put on musical theater productions every year, for it is part of their culture. That is how I came in contact with musicals and was able to learn the differences and nuances between classical conducting versus musical theatre conducting. Do you ever think of going back to Brazil to work and pursue a career there? I never say never, but at the moment it is not something I’m considering. I believe I can contribute more effectively by collaborating with my colleagues in Brazil while continuing to pursue my career in the US. I’ve been engaging with the Brazilian community through webinar series as well as occasional visits to the country to minister workshops and masterclasses, and it is always an incredibly rewarding experience, and one I’m most grateful for.

Who would be your dream artist to collab- orate with? I guess I’ve missed my chance to collaborate with Leonard Bernstein and George Gershwin, so I will have to wait and see who hires me next. I feel privi- leged and grateful to Alex Lacamoire for the opportunity he gave me of working on Hamilton. Working with and learning from him was an opportunity I never dreamt possible.

What are you presently work on? What's is your next project ? I’m currently preparing myself to music direct Guys and Dolls at the Loewe Theatre at Steinhardt in September, followed by a concert version of Anything Goes at the end of the Fall. This year Brazilian are celebrating 60 years of Bossa Nova. Do you believe that Brazilian Music has captivated the world and can it get a revival in the US, like Bossa Nova was in the 60s? Brazilian music has not only captivated the world but changed the way we interact with American Jazz as well as influenced Broadway. What it is commonly known and identified as Brazilian music is the style that was being written during that time period, but I do not believe a lot of the music that has been written in Brazil at the moment resembles the same characteristics of earlier MPB.

However, it is my hope that American audiences will regain the motivation to once again focus on the music of that time and develop an appreciation for it that will lead to another revival in the US. Feel free to add any other information or comments that you deem relevant ... It is great to have the opportunity to share with the readers a little of my story and I want to thank everyone who were part of my journey so far, family, friends, mentors and colleagues. Without the support and guidance of so many I would certainly not have surpassed some of the obstacles faced along the way. It is my hope that the dreamers reading this interview will find encouragement in these words as I found encouragement through the life of Joseph, while being reminded of his story while playing on the tour of Joseph and the Amazing Technicolor Dreamcoat.

May we all persist like Joseph until we achieve our goals and be able to share with others and make this world a better place by how we live while in it.

www.anaflaviazuim.com UP CLOSE & PERSONAL INTERVIEW WITH ANA FLAVIA ZUIM Photos by: nyu.edu/about/news-publications

13 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 T wo years after his debut album “Suite Três Rios”, Dan Costa records “Skyness” at Arte Suono studios in Italy, an invitation to outer harmony and inner peace. It features US sax player Seamus Blake, Brazilian flute player Teco Cardoso and Portuguese guitarist Custodio Castelo as well as Brazilian guitarists Nelson Faria, Romero Lubambo and Roberto Menescal, one of Bossa Nova’s foremost composers.

The album takes the listener on a journey inspired by the sky and its unify- ing strength, reflecting ideals of open- mindedness and embracing styles such as Bossa Nova, Samba, Fado and Flamenco. It is also an ode to the idyllic Cycladic islands in Greece, where most of the tracks were written.

Praised for his musicianship by Down Beat Magazine and All About Jazz, Daniel Greco Costa, known as Dan Costa, was born in 1989 in London (UK) to a Portuguese and Italian family. He initially studied classical piano for six years at the Académie de Musique Rainier III in the south of France, and under- went further classical training at the Académie Inter- nationale d’Été de Nice as well as at the Aurora Music Star Festival in Sweden. He was awarded a diploma with merit at Sir Paul McCartney’s Liverpool Institute for Performing Arts in the UK. His strong interest in his Latin roots coupled with his passion for jazz led him to study at the Escola Superior de Música e Artes do Espectáculo in Portugal, where he graduated in jazz piano with an award for outstanding achieve- ment, bestowed upon him by Rotary Club Porto-Foz in 2015.

During his course, he was also awarded a merit grant to study Brazilian music at UNICAMP – Universidade Estadual de Campinas (São Paulo, Brazil). He has attended workshops coached by mu- sicians such as Kevin Hays, Scott Colley, Kurt Rosen- winkel, Jorge Rossy, Chick Corea and César Camargo Mariano. He has co-directed musicals, performed with orchestras and big bands, and starred as both a pianist and composer in projects in countries such as the UK, France, Finland, Germany, Spain, Greece and the USA. In January 2016, he recorded his debut album “Suite Três Rios” in Rio de Janeiro, Brazil, with musicians such as Jaques Morelenbaum, Ricardo Silveira, Teco Cardoso, Rafael Barata, Marcos Suzano and Leila Pinheiro.

It peaked at #1 on the iTunes Jazz Chart and Top 10 across all genres in Portugal, prior to hitting the #1 slot on the CMJ Top Adds Chart in the USA and being top 10 for several weeks on Roots Music Report. One of the best albums of the year for Down Beat Magazine, it achieved rave reviews from countries such as the USA, Russia, Canada and Brazil. It was performed live in countries such as Greece, Brazil, India, Cyprus, Italy and Israel.

In May 2018 he recorded his new album "Skyness" at Arte Suono in Italy, featuring US sax player Seamus Blake, Brazilian guitarists Nelson Faria, Roberto Menescal and Romero Lubambo, Brazilian wind player Teco Cardoso and Portuguese Fado guitarist Custodio Castelo. SKYNESS Release date: September 2018—Worldwide http://www.dancosta.net RISING TALENT

14 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 BOSSA MAGAZINE Interview with PORTINHO Drummer By Madalena Sousa/Editor In Chief The drummer and arranger, Portinho, was born in the south of Brazil, in a town called Rio Grande/RS.

He is a quiet, modest man and with integrity. Since arriving in the US in the 1970‘s, Portinho has worked with such Latin Jazz royalty as Paquito D’Rivera, Airto Moreira, Gato Barbieri, Harry Belafonte, Dom Salvador, Astrud Gilberto, Michel Camilo,Tania Maria, Nancy Willson, Herbie Mann, Ron Carter, and many others. He has contributed to the recordings of Yana Purim's "Harvest Time" as well as played on the album at the Mikell's Jazz Club (New York City), with a group composed by Argentine pianist Daniel Freiberg and Texas bassist Frank Gravis. Portinho also worked in collaboration with the trombonist and longtime associates Claudio Roditi and Jay Ashby, whose lyricism carries Carlos Lyra’s "Canção Que Morre No Ar".

Everything he plays encompases a statement and the groove never stops - " Modern Drummer“, portrait by Carl Stormer (1988). Continue... VIDEO LINK Photo Credit: Christopher Drukker

15 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 P ortinho has performed on tours in several countries such as Denmark, Switzerland and Germany. In 2008, he recorded his own Jazz MCG CD entitled "Port Wine" with his "Portinho Trio". In it there is a perfect balance of drums, piano, bass and trombone. It includes Portinho on drums; piano, bass and trombone with Portinho (drums), Klaus Mueller (piano), Itaiguara Brandão and Lincoln Goines (bass and trombone, respectively) and special guest Jay Ashby (percussion).

The CD has songs arranged by Portinho and Mueller Klaus. "Port Wine" which combines songs from Brazilian genres of Bossa Nova, samba and songs from the New York City jazz scene. After 48 years of living in the United States, Portinho continues playing drums in New York City and other countries in classic form. In a interview with Bossa Magazine, Portinho shares about his professional journey. Get to know Portinho today!

In an exclusive interview with Bossa Maga- zine, Portinho reflects on the highlights of his professional life since his arrival in the USA. — By Madalena Sousa When was your first encounter with percus- sion instruments? I started playing pandeiro ( tambourine ) with my father and my older brother at seven years old. I joined in while they were rehearsing with their group ( Regional do Chiquinho ). They played Chori- nho, a type of classical Brazilian Music but with deeper rhythms. When I was ten years old, I performed with my father‘s group for the first time. It was scary. It was my first time playing in public.

The group played samba with a never-ending fast beat. When I was eleven years old, I started playing percussion at a samba school, with neighborhood guys. Mostly, in the streets, then at Carnival every year, in dance clubs. We were playing for money. I first learned how to play all percus- sion instruments. Following my time in the Army, I started playing drums. Who were your music influences? When I was young, I was influenced by my brother. I then started listening to Jazz in the 1960’s; especially Tony Williams, Elvin Jones, and Max Roach, and Art Blakey. It was very diffi- cult to get records in Brazil during the 1960’s; still very difficult to do so.

When did you start working as a professional drummer? I started playing in a big band when I was in my early 20s at dance parties. We played everything; Samba, baiao, mam- bos, cha cha cha, and American big band swing tunes. This was before rock’n roll. Who are your favorite musicians? I love to hear the pianist Oscar Peterson and Errol Garner. What kind of equipment you are presently using? Mapex Drums & Paiste cymbals. How did you get start playing with Breno Sauer Group in Brazil before you came to US? Breno Sauer called me to play on a gig. I had always wanted to play with his group. I was the substitute for about a week.

Turns out, I continued playing with them for 12 years! We did several records in Brazil, and received two awards for best instrumental record. At that time, the instrumentation was like the Modern Jazz Quartet: Vibraphone, piano, bass, and drums. We played many songs by American Jazz composers with samba swing. We played in Brazil until it became necessary to leave the country. In 1971, we contracted to play in small club in Texas called Nuevo Laredo. We were playing there for about two months when we secured a one year contract to play in Minneapolis. Shortly thereafter, we began touring the United States and Canada.

In 1973 (twelve years after playing with Breno Sauer Group), I decided to move to New York City.

What made you move to New York City? I wanted to develop my playing and meet jazz musicians. I already knew some musicians living in New York City, and had met Charlie Rouse in Mexico but did not know how to reach him. For months hung out, listening and meeting people. Later on, Airto Moreira discovered that I was in NYC and invited me to play in his group. This was right after Airto and Flora Purin had recorded the “Fingers' album. I worked with them for six months. I then spent two months in California but re- turned NYC to Gato Barbieri.

How did you get to play with Gato Barbieri's Group? When I came back from California, someone told me that Gato was looking for a percussionist.

I actually got the gig with Gato’s band in 1974. During a break in a rehearsal, I was fooling around with the drums. When Gato came back to the studio the said ‚“I did not know you played drums like that“. I said: “Well, I told you I was a drummer.“ My first gig with him turned out to be as a drummer, not as percussionist. I worked with him for two years and played on few of his records. After I left Gato in 1976, I worked as a freelancer musician. I played with the Lloyd McNeill quartet at a Lower East Side club called "Tin Palace“. That was the first time I played with Ron Carter.

Dom Salvador was the pianist. I began receiv- ing calls for studio work. I worked with Charlie Rouse and with Dom Salvador in 1976; we recorded the album “My Family”. What is your playing signature? What makes your playing different from other drummers? I like to play the syncopation straight forward (para frente). I developed my own style from listening to many different musicians. Good musicians always play something that you can incorporate into your own playing: The way they phrase, how they swing in their solos, etc. For example, Herbie Hancock, Clifford Brown, Oscar Peterson, or Oscar Pettiford are rich in their rhythmic playing.

You don't have to play like them but, you can take advantage of what they play. When I started, I did not think about this. I just listened to a lot of music, trying to figure out how I wanted my drums to sound. Now, unless I play a commercial gig or work behind a singer who needs something specific, I will play pretty much like Portinho.

What record do you feel gives the best repre- sentation of your playing? My second CD “Vinho Porto” (Port Wine) recorded with my trio; it represents my signature playing. The Samba you first learned when you were a kid has changed through the years? Yes, much has changed since then. There are some many different types of samba, and whatever tempo you play, it is still samba! In general, samba is in 2/4 meter, with an emphasis on the upbeat. The surdo pattern has not changed a lot in traditional samba. From where I come from, they play different rhythms like baiao, candomblé, coco, xaxado, caterete, and frevo.



17 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 F or Roger Davidson, music is a world without boundaries. Though com- monly termed a classical artist, Roger has developed a fearlessly eclectic reach, both as a composer and pianist. “Music is for the world,” says Roger, whose acclaimed catalog ranges from chamber, symphonic, and choral pieces to jazz, tango, Klezmer, children’s music, a wide span of Latin and Brazilian projects.

His recently published books of original Brazilian-inspired compositions, To Brazil with Love , and Saudade do Bra- sil, represent the variety of his Brazilian compositions.

Michael G. Nastos of All Music Guide termed him an “extraordinary” pianist devoted to “reaching for the inner soul.” Jazz Weekly’s George Harris labeled him “one of the most lyrical and romantic pianists around.” As both composer and pianist, Davidson reaches out to cultures outside his countries of origin -- and having been born in France, raised in the United States and having traveled exten- sively, music from around the world has been a major theme throughout his life. But the country that keeps coming back to him is Brazil.

Davidson’s life-long love affair with Brazilian music has recently been enhanced by the love of his life, Nilcelia Davidson, who continually inspires a large body of work in this genre.

Davidson has recorded several albums with renowned Brazilian musicians, including Journey to Rio, a double-CD of his Brazilian composi- tions, recorded in Rio de Janeiro in 2011. More recent albums include the live CD, Oração para Amanhã, and the upcoming Music from the Heart, both with Hendrik Meurkens on vibraphone and harmonica. When did you start playing piano and singing? Do you also compose? I started playing the piano when I was four years old, and began composing at age six. When did you get involved with promoting Brazilian music? I first heard Brazilian music when I was ten years old, and have been in love with it ever since.

Later on, I started writing Brazilian tunes, then actively recorded and performed them. Why did you choose Brazilian music? I love Brazilian music because of its rhythms, melodies and the passion of its spirit.

What was the first Brazilian tune(s) you learned? The first Brazilian tune I learned was “Garota de Ipanema”. The first Brazilian tune I wrote was “Brazilian Love Song” (in 1978). What are your fondest Brazilian musical memories? The first was when I heard Stan Getz play Brazilian music on a record in 1962; the second was when I started writing my own Brazilian tunes in the 1970’s; third was when I first heard Brazilian carnival samba music. After that, it was in Brazil when I travelled to Rio de Janeiro to play my music. Additionally, my fondest memories of Brazilian music are the tunes I have been writing for my wife Nilcelia in the last five years since we have been together.

She is (now) my greatest inspi- ration!

Who are your favorite Brazilian musi- cians? Rhythm? Groups? CD's? Tom Jobim, Carlos Lyra, Marcos Valle, Francis Hime, Gilberto Gil, João Donato, Sergio Mendes, Leny Andrade, Roberto Menescal, Jorge Ben, Vinicius de Moraes, and many others. My favorite Brazilian rhythms are all of them! And, I love samba music for carnival. As for CDs, there are too many good ones to mention! Were you influenced by old records from Brazil? Which ones? Brazilian records which I heard while growing up were mainly by Jobim, João Gilberto, Carlos Lyra, Vinicius de Moraes and Milton Banana.

Did you record any CD with Brazilian Tunes? Did you record any other CD? I have recorded several CDs with my own Brazilian tunes, including a double CD set recorded in Rio de Janeiro in 2011.

My latest CD, to be released in September 2018, is called “Music from the Heart” and is mainly a love note to my wonderful Brazilian wife, Nilcelia. What do you expect of the future of Brazilian Music? I think the world loves music from Brazil, as it seems to connect everybody in a spirit of joy – so I think Brazilian music has a great future! What rhythms do you like the most? (see previous questions) – All of them! And I love “batucadas”, as I also play some percussion instruments.

How do you see the bridge between jazz and Bossa Nova? There is a natural bridge, as they go together very well; one influences the other. How can Americans become more aware of Brazilian music? Americans can become more aware of Brazilian music by listening to the first jazz samba CDs from the 60s and 70s, as well as by listening to Brazilian musicians playing and singing in all styles of Brazilian music. They can also learn to dance to Brazilian rhythms. What kind of message do you want to send to the world with your music? I want to send a message of love, joy, passion, building cultural bridges and faith in the future of the world.

Do you frequently perform anywhere? I perform in New York City (from time to time), and sometimes in Brazil. Most of my time is dedicated to composing music.

What's your next project? To date, I’ve published two books of my Brazilian tunes, and am putting together a third one, which should be out in 2019. I am interested in getting more of my Brazilian compositions into the hands of other musicians. Feel free to add any other information or comments that you deem relevant ... My love for Brazilian music feels very organic; I am not just approaching it out of curiosity, but rather out of a deep passion for Brazilian culture. For this reason, Brazil feels like another home country; when in Brazil or among Brazilians here, I never feel like a foreigner.

Upcoming event: Sun, September 23 @ 4PM Jazz Forum 1 Dixon Lane Tarrytown, NY 10591 information. TICKETS NEW CD RELEASED ON SEPT /2018 http://www.rogerdavidsonmusic.net ROGER DAVIDSON - CITIZEN OF BRAZILIAN MUSIC Bossa Magazine Interview by Madalena Sousa Editor In Chief

18 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Drummer par excellence DRUM UP BRAZILIAN MUSIC PAULO BRAGA It’s not unusual to hear com- ments that Paulo Braga is perhaps one of the greatest Brazilian drummers or stories about his decade-long legacy playing with Tom Jobim’s band. Paulo has accompanied artists such as Elis Regina, Tim Maia, Carlos Lyra, Emílio Santiago, Simone, Chico Buarque, Nara Leão, Gilberto Gil, Djavan, Ivan Lins, Edu Lobo and many others. During the 1990s , he lived in the USA and played with Joe Henderson, Pat Metheny, David Sanborn, Michael Brecker and John Pizzarelli.

Currently, he plays with Jobim Trio, featuring Paulo Jobim (Acoustic Guitar) and Daniel Jobim (Piano); Tom Jobim’s son and grandson. Paulo Braga’s interview is a personal retrospective: In the beginning of the Bossa Nova, you were about 18 years old. How was the movement at that time, and who were the drummers that influenced you? When Bossa Nova started we were young and I lived in Belo Horizonte. My generation listened to every- thing. The “movement” included many great composers such as: Tom Jobim, Carlos Lyra, Roberto Menescal, Marcos Valle to name a few. I belonged to a trio with Wagner Tiso and Milton Nascimento (known as “bituca”).

We were fans of Tamba Trio. I liked drummers Edson Machado and Dom Um Romão. My strongest influence was certainly Helcio Milito; his drum brushes were unmatched. My “idol” howev- er was Elvin Jones.

19 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Berimbau Trio: Wagner Tiso, Paulo Braga and Milton Nascimento You played with the most influen- tial names of the Bossa Nova, what was your differential? I played with Elis Regina who called me a “carioca mineiro” (a person born in Minas Gerais but appeared to originate from Rio de Janeiro). Tom Jobim said that “I made the drums a musical instrument”; he was very generous. I worked with an American studio technician who said: “Braga, you can be invisible but when I turn your drums off I feel that something is missing in the music”.

How is the Jobim Trio Going? We have two formations: The “Jobim Quartet” with me, Rodrigo Villa (bass), Paulo Jobim (guitar) and Daniel Jobim (piano); and “Banda Nova” which is Tom's original band consisting of me, Jaques Morelenbaum (cello), Paulo Jobim and Daniel Jobim. We’ve been performing around the world. Elis Regina and Paulo Braga How do you see the Bossa Nova today in Brazil and in the world? Bossa Nova continues to have a presence around the world and, of course, in Brazil. In my opinion, the music has endured.

Please give a tip for a drummer that is beginning the career? My advice to those early in their careers is to follow your intuition which is how I charted my journey.

Be sure to include your personality in the music and avoid copying. What is your favorite type of music? I like many types of music especially the soul music that I recorded with Tim Maia, Djavan, Elis & Tom, and Raul Seixas, all of which were great hits. Hard to specify! Sources & Photos: Photos: Paulo Braga’s Facebook BY MILA SCHIAVO


21 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Tati Vitsic was born in Rio de Janeiro, Brazil, in April 1976. Daughter of an engineer father and an artist mother, she showed her talents to the arts very early. When she was 10 years old, she started taking drawing classes and, as young as 13 years old, she was already participating in adult Art Salons.

Since then, she Salons and has won 4 medals and other awards. In 1994 she started to study Graphic Design in Rio de Janeiro. Two years later, she lived in New York City and took classes at the School of Visual Arts in Illustration, Graphic Design and Comput- er Art. In New York, she had the oppor- tunity to take classes with the designer Milton Glaser and to participate in some lectures with well-known artists, like the illustrator Paul Davis.

In Brazil, she took illustration and engraving classes with the artist Amador Perez and also studied children's book design and illustration with Guto Lins. The medium she uses mostly in her art- work is pastels, but she also utilizes pen, pencil, colored pencil, dyes, gouache and digital illustration. Tati Vitsic graduated in 1999 and worked for some graphic design companies. A year later, she started working in the web design industry, developing Html and Flash skills and specializing in web design. She also took marketing classes at ESPM in Rio, and in 2002, she started working as a marketing assistant at USA Network TV Channel, being responsible for their website.

After a couple of years working as a free- lancer, she decided to go back to New York in 2005 to start a career as an inter- national designer. She worked at Alexander Interactive - an award-winning internet company in Manhattan - and created work for clients such as: Citigroup, Caché, Ivanka Trump, Steiner Sports, PetCareRX, Kaplan, Action Envelope, etc. At Ai, she won an Outstanding Achievement Award from the IMA (Interactive Media Awards), for being the leading designer at Caché Prom 2008 website.

Back in Rio de Janeiro, she created in 2010 the stationery/invitations company MERCI DESIGNS and worked as a full-time designer at Petrobras.

In May 2014, Tati finished an Associate Degree in "Textile/Surface Design" at Fashion Institute of Technology, in New York, and created her surface design brand Pommy New York. Since then, she’s been working in NYC in the fashion industry, creating designs for baby, children and women apparel and accessories, for clients like: Lucky Brand, Roxy, Reebok, Elle Baby, Macy’s, etc. Recently, she worked on a project designing Christmas sweaters at the largest company in the field in the US. On December 3rd 2017, Tati Vitsic had her first Christmas Pop-Up Shop, where she introduced her brand “Pommy New York”, exhibited original artwork and sold artistic and unique printed scarves, hand- bags, pencil cases and other products.

The event took place at the Brazilian restaurant Beija-Flor, and had a perfor- mance of a live Brazilian band. The Brazilian channel “Record News” covered the event: https://www.youtube.com/watch? v=rjdpP1v9eIk&t=22s The designer was also interviewed by the largest TV channel in South America “Globo International”, giving tips on how to make personalized Christmas ornaments: https://www.youtube.com/ watch?v=BzRW2KWwhmY&t=4s TATI VITSIC – International Graphic Designer Visit the online Pommy New York shop: https://society6.com/pommy/collection For more info about Tati Vitsic and to see her portfolio, visit: www.tati.com.br.

22 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Bossa Nova was a movement of Brazilian popular music that emerged in the late 50's, characterized by a musical style with strong influences from American jazz and samba from Rio. During the 1950s, Brazil was experi- encing the euphoria of economic growth generated after the Second World War. Based on the "Golden Years" wave of optimism, a group of young musicians and composers from the upper middle class in Rio de Janeiro began to look for something really new and capable of escaping the operatic style that dominated Brazilian music.

This all happened in the midst of the process of urbanization and indus- trialization in Brazil, under the government of Juscelino Kubitschek (1956 -1961), with the Goals and Development Plan Policy highlighted by the motto "five years in five". The economy grew, Brasilia was built, the Brazilian team won its first World Cup. It was in this environment, with a lot of cultural effervescence, that Bossa Nova conquered the most refined ears. Since then, the Bossa Nova has been the standard. The Story of the Brazilian Mus BOSSA 60 Y BOSSA

23 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Bossa Nova emerged more precisely in 1958 , with the launch of the single disc of João Gilberto, one of the greatest representatives of the musical movement. The word “Bossa” was Carioca slang that, at the end of the 1950s, meant “new way”, “new style”, “new trend.” However, the term "Bossa" was used for the first time in a song composed by Noel Rosa, “ São Coisas Nossas” (Our Stuff) in the 1930s. The movement emerged with the intention of seeking something new and with this, young people from Rio come together to create a musical innovation.

The new sound conquered the world in the sixties and was immortalized in Brazil and many other places around the world. The Bossa Nova craze in the United States was sparked by a legendary concert at Carnegie Hall in 1962. Featuring such figures as Tom Jobim and João Gilberto in perfor- mances of such classic songs as "Samba De Uma Nota So,” "A Felicidade," and "O Barquinho". This performance was a landmark event that intro- duced one of the most influential Latin America’s musical styles to the world, the Bossa Nova!

sic That Seduced the World NOVA YEARS NOVA


25 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Isit possible to have avant-garde popular music? At first glance we may think that these two terms, “avant-garde” and “popular” are opposites. In fact, con- sidering the definition of avant-garde that the 20th century left us, it is diffi- cult to imagine something that could be further from what we call popular music or, more acutely, pop music. “Avant-garde music” - or at least what is usually called “avant-garde” - is comprised of a broad range of new musical definitions, from intricate compositions that could sound weird (but still music!) to sparse sounds coming from different speakers made to be specifically appreciated in a certain space (and that would sound like no music at all!).

Additionally, another definition is necessary: while “pop music” may refer basically to the same thing in the US and in Brazil, popular music can roughly corre- spond to the broader sense of Ameri- can “folk music” (for instance, post- 1965, Bob Dylan, the Grateful Dead, and Belle and Sebastian could still be considered folk).

In Brazil, the decade of 1950 was marked by the rise of new features in the artistic field. If the Modernist movement maintained a dialogue with regional Brazilian traditions, Post-war Avant-garde movements were oriented toward universal con- cepts. The debate of regional versus universal would last for at least two decades in Brazil, and its influence in all art is evident. For instance, instead of a neoclassical appearance, the works of Oscar Niemeyer and Lucio Costa demonstrate a radical turn in architecture. In poetry, the concrete poetry movement intended to put an end to the verse and to compose poems in a minimalistic form.

Usually, popular music doesn’t take place in this discussion, but the Brazilian political situation at that time may have opened a path where both worlds, popular and avant- garde, could meet. Concerning artis- tic manifestations, Getúlio Vargas, president of Brazil from 1930 to 1945, and from 1951 to 1954 adopted a position of valuing regional themes as a way to build the notion of “brasilidade”, an officially sanctioned way of being Brazilian. In contrast, from 1956 to 1961 under the presi- dency of Juscelino Kubitschek, Brazil underwent an intensive process of progress and modernization.

To align with this industrial boost, the Ku- bitschek government supported a shift towards new and more international cultural directions. Built during the JK years, Brasília is the most repre- sentative work of his tenure.

Connected to the events of its own time, the Bossa Nova movement relates the post-war artistic mindset to the form of samba (considered the official Brazilian musical manifesta- tion during Vargas era). The traditional rhythm of samba as well as its har- mony were broadened to fit the sophisticated musical ideas coming directly from avant-garde composers. It made samba seem a little bit out of range to listeners accustomed to the tonal system and the usual patterns of samba. The lyrics of “Desafinado”, one of the most acclaimed Bossa Nova songs, is about this phenome- non: the singer is trying to convince his loved one that he is not singing out of tune,“isto é Bossa Nova, isto é muito natural”.

He is trying to explain that bossa employs dissonant tones in its composition, and that he is not out of tune; the thing is that disso- nant sounds are also part of music. At the end of the song, the singer gives up on his expectation of being under- stood and says that deep within the out-of-tune singer, a heart beats, too. In other words, out of tune or not, we have feelings, too (or we compose songs, too). What is to be taken from this is that Bossa Nova built a bridge between popular and classical music, similar to what modern jazz did in the United States. The processes that both movements assimilated into popular music are somewhat com- mon in classical music.

This bridge was paved by composers who were either learned in classical music or were personally aware of the changes in music during the twentieth century and were also somehow connected to popular music.

Tom Jobim, for example, was disciple of Hans-Joachim Koellreutter- a German composer who introduced dodecaphony (a composition tech- nique established by Schoenberg, consisting of the equal use of the twelve half-tones of a scale) in Brazil, and later studied with Tomas Terán- a Spanish composer close to Villa- Lobos. As one of the main names of Bossa Nova movement, Tom highly regarded Brazilian cultural diversity, but his composing style employed modern techniques not previously used in Brazilian popular music. In the same way, Vinicius de Moraes, a notable Brazilian poet and diplomat, had an exceptional knowledge of humanistic tradition, and as a song- writer he was able to combine it with Brazilian popular traditions, bringing Brazilian popular music to a more sophisticated lyrical level.

We also have to mention Newton Mendonça, who wrote the lyrics for “Desafinado” and “Samba de uma nota so”, two of the mosT emblematic Bossa Nova songs.

One of the novelties Bossa Nova brought to popular music in Brazil was the consonance between the sounds of the words and melody and harmony. Furthermore, the intent of unifying content and form was also an innovative feature brought in by the Bossa Nova movement. In this sense, João Gilberto appears to be the singer of the era. Although a declared fan of Orlando Silva (a fa- mous Brazilian singer, known for his operatic style of singing), João seemed to be aware of the new musi- cal technologies; the use of micro- phones and speakers allowed him to develop a new style of singing, exper- imenting with the duration of each syllable in a word and holding the duration of the notes of the melody over the harmony, which made him sound more like he was talking than effectively singing.

All these new features mentioned above contributed to the develop- ment of the unique sound of Bossa Nova. On November 21, 1962, these musicians performed a landmark concert at Carnegie Hall, drawing the attention of musicians such as Stan Getz, Charlie Byrd, Herbie Mann, Dave Brubeck, Miles Davis, Bill Evans, among others. Since then, Bossa Nova became an worldwide influencer among both popular and classical composers, players, listeners and music lovers in general. Bossa Nova Avant-garde Popular Music - By Rafael Lemos

26 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 The Brazilian music scene in the 1950’s Radio was the main mass communication vehicle in Brazil between 1930 and the early 1960s.

Back then, there was no TV. The arrival of the radio has completely changed the feeling of isolation. Through this apparatus, millions of people had access to news, music, radio novels, humor, sports and variety programs, all at a speed never imagined. Singers and composers enchanted crowds from north to south. The radio was a fundamental instru- ment of change, of mindset — and dominance of the American cultural in dusty in Brazil.

The ground zero in the history of radio in Brazil is September 7, 1922, when the country celebrated the centenary of independence with the transmission of the speech of the President Epitácio person. Radio Mayrink Veiga had already been on the air for ten years, but it lost the lead as soon as the National Radio went on the air. From that day, popular imaginary, customs and culture would never be the same. The radio created and maintained idols, and determined the standard for voices that would keep their magic and be able to guarantee their expansion in the market. Aware of this role, the singers and composers, when signing the contract to join the National cast, knew they were putting their names in history.

Some of these musicians from the radio era were, Orlando Silva, Carlos Galhardo, Ataulfo Alves, Linda Batista, Alaide Costa, Luiz Gonzaga, Carmen Costa, Nelson Gonçalves, Dalva de Oliveira, Dolores Duran, Cláudya, and others, were part of the "cast" of the recording artists who made a mark on Brazilian popular music in the Radio Era. The singers with a strongest voices were the most prominent but also marked with the period of depressing lyrics. The most important broadcaster in Brazil, which would become a model for others, was the National radio, from Rio de Janeiro.

How did Brazilian Music sound before Bossa Nova? Dorival Caymmi, Carmen Miranda & Assis Valente in 1939. The Radio Era 1930-60

27 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 The Pre-Bossa Nova Era The 1950's were marked worldwide by great scientific advances, along with technological, cultural, and behavioral changes. It was the decade when television broadcasts began, causing a major change in media. In the field of international politics, conflicts between the capitalist and socialist blocs (Cold War) gained more and more strength.

The decade of 1950 is known as the golden years era.

The music played at this time was a mix from interna- tional orchestras that created fashionable rhythms made for dancing like fox, blues, bolero, be-bop, calypso, and rock ' n roll. The big musical news for this period was the baião ( rhythm from the North East of Brazil introduced by Luiz Gonzaga, and samba-canção (literally it means “samba-song”, a slower tempo than traditional samba), mostly depressing songs, called the ‘samba-fossa’ (samba pit), like “ Ninguém me ama, ninguém me quer” ( No one loves me, no one wants me) by Antonio Maria & Fernando Lobo (1952). Sérgio Cabral in his MPB work during the Radio era, attributed the mix of bolero with samba to the foreign influence that occurred in the second half of the 1940s.

Movies, records, and radio broadcasting were dominated by the bolero, the rumba and the mambo. The influence was so great that El Cubanito, a successful singer in these Hispanics genres, was a carioca, named Álvaro Francisco de Paula.

The mix of bolero with samba was called the Sambolero and remained in evidence until the end of the 1950s. The drummer mixed both styles and did not distin- guish between the Sambolero and the samba-song. The lyrics of these sambas were almost always depressing. As this period was transitional to modern Bossa Nova. This era was a bridge and in it the veterans of the golden age were coexisting with the newcomers on the stage, which gave rise to the Bossa Nova. The “Golden Years” of MPB (Brazilian Popular Music) was supplanted in importance only by the era of festivals (1958-1973). It is deemed a period of grandeur since Sambas and Marches represented 50% of all the recordings at the time by the extraordinary composers like Noel Rosa, João de Barro and Lamartine Babo.

From this period the four greatest interpreters were Francisco Alves, Carlos G, Silvio Caldas and most prominently, Orlando Silva. Pixinguinha and Radames Gnattali created the orchestration patterns for Brazilian music. Ary Barroso produced “Aquarela do Brasil” ( The watercolors from Brazil), the most important piece of the twentieth century, and Carmen Miranda was the most prominent name.

The depressing songs sounded like this: “Ninguém Me Ama, niguem me quer” “Nobody loves me, nobody wants me” Composers: Antonio Maria & Fernando Lobo (1952). Ninguém me ama, ninguém me quer Ninguém me chama de meu amor A vida passa, e eu sem ninguém E quem me abraça não me quer bem Vim pela noite tão longa de fracasso em fracasso E hoje descrente de tudo me resta o cansaço Cansaço da vida, cansaço de mim Velhice chegando e eu chegando ao fim *** Nobody loves me, nobody wants me No one calls me my love Life passes, and I have no one And who hugs me doesn't want me well I've come for such a long night of failure in failure And today I am unbeliever of all I have left the fatigue Tiredness of life, tired of me Old age coming up and I coming to an end *** The sun rising period Still in the 50s, great singers emerged, composers who have innovated themes and forms of singing.

Dorival Caymmi, Antonio Carlos Jobim, Vinicius de Moraes were exponents of this period. The Pre-Bossa Nova prepared them for the advent of MPBM – Modern Brazilian Popular Music, represented by three major innovative musical movements: The Bossa Nova, the Jovem Guarda (Young Guard), and the Tropicalia. Among the beginners, who played a decisive role in the creation of Bossa Nova, are the singers Dick Farney, Lúcio Alves, Silvia Teles, Dóris Monteiro, Luís Cláudio, Agostinho dos Santos and the vocal ensemble of The Cariocas. Other singers and composers who innovated were Tito Madi, Dolores Duran, Billy Blanco, the arranger Lindolfo Gaya, João Gilberto, Newton Mendonça and Carlos Lyra.

Great instrumentalists of this period who contributed to creating Bossa Nova were: Johnny Alf (who later turned out to be a good singer), Chiquinho do Acordeon, Luís Bonfá, Ebony Santos, João Donato and Paulo Moura. During this period, carnival music declined in popularity. ”The Golden Years” (Os Anos Dourados) and “The period of depressing lyrics”

28 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Orfeu da Conceição Lyrics & Music Antonio Carlos Jobim Author Vinicius de Moraes “The beginning of a musical success” 1956 PRE-BOSSA NOVA Orfeu da Conceição 28 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12

29 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 The Play: "Orpheus of Conceição", debuted on September 25, 1956, at the Teatro Municipal in Rio de Janeiro. Written by Vinicius de Moraes with music by Antonio Carlos Jobim, it would not only make a mark in the history theater in Rio de Janeiro but also in Brazilian music, by putting them together, as partners, for the first time. The play became the basis for the films “Orfeu Negro” (Black Orpheus) (1959) and “Orfeu” (1999), and for the musicals “Orfeu” (Brazil 2010) and “Black Orpheus” (Broadway- 2014).

The Greek Myth of Orpheus and Eurydice is set in a contemporary favela in Rio de Janeiro during Brazilian Carnival. Abdias do Nascimento was in the original cast. Vinicius de Moraes transports us to the slums of Rio de Janeiro called “ Morro da Conceição” and tells the story of the Samba Orpheus, known on the hill for his music. All the dialogues are rhymed and rhythmic, in a production that is music and pure poetry. You clearly notice Vinicius' hand in the play. It's completely fascinating! The introduction for the first time of black people in a play and how Vinicius gave life to the sambista who had always been mar- ginalized was fantastic, apart from the beauty of the dialogues.

It's alluring. The piece is divided into three acts and is an experience that is recommend for everyone because it is magnificent. It's amazing to see a Greek myth set in a slum in Rio de Janeiro.

Brief Synopsis: “Orpheus is a black boy, seductive, hand- some and flirtatious. He lives in a shack with his parents, Apollo and Clio. The first meeting scene between Orpheus and Eurydice is executed with poetic words, making evident the libido and true love that exists between them. Amid the eupho- ria of passion, Orpheus wishes to take Eurydice to the room, but she, even though she desired to, asks him to wait until after the wedding, which would happen secretly the next day.” The Film Back in 1955, Vinícius starts conversation in France with producer Sacha Gordine to transform the story of Orpheus into a film.

Titled “Black Orpheus”, an adaptation of Vinícius's play, the Franco-Italian produc- tion was released in 1959 written by Marcel Camus, Vinicius de Moraes, and Jacques Viot - directed by Marcel Camus. Although Vinícius rejects the cinematic result, the film won the French main award - The Palme D'or in 1959, as well as the award for Best Foreign Film at the Oscars and the Golden Globe in 1960. The film was taped in Rio de Janeiro. The vast majority of actors were black (whites appear as police- men, doctors and some carnival revelers) and the characteristics of African culture in Brazil are very striking.

You can especially see it in the scene where Orpheus witnessed an Umbanda ritual (Afro- Brazilian religious ritual) . There are critics who acknowledge that the film "probably provided a first sample of Brazilian culture to more Europeans and Americans than any other artistic work ". The words from the play “Orpheus” regained worldwide prominence by being cited in the “Origin of my dreams”, the Autobiog- raphy of Barack Obama. In the book, the American president describes the night when, at the age of 16, he accompanied his mother to the cinema to watch the movie Orpheus Negro. Besides the image of Christ the Redeemer, which appears from afar, the film brings images of Rio de Janeiro of the 1950, revealing the crowded trams, the houses in the slums and the presence of domestic animals, like birds, chickens and goats.

The Music Through Lucio Rangel, the poet (Vinicius) meets the composer (Jobim), and both work on the soundtrack of the play, intro- ducing Luiz Bonfá later. It comes out as an album in the same year, becoming one of the starting points of an aesthetic that three years later would definitely be called Bossa Nova. Black Orpheus, the film, by Marcel Camus, and its soundtrack, were signposts by which the world first learned of Samba and Bossa Nova and fell in love with it. There- fore, it is staggering to consider that it took until 2008 for a definitive edition of the soundtrack to be released, one that assem- bled all the songs and music heard in the film.

Universal France has assembled all the sound recordings into one 17-track volume. These include the two original 45 EPs, and the 10" 33 rpm album, as well as some tracks that have never appeared before now. Given the wild success of the readily recognizable album on both LP and CD over the decades, this amounts to an entirely new hearing of Brazilian music - bossa was emerging in Rio at the time too, as a brand new genre. The sounds of the various samba schools from the carnival parades are accompanied by the gorgeous Instrumental interludes by Bonfá (inclu- ding the now ubiquitous "Manhã De Carnaval," written with poet Antonio Maria), and the songs of de Vinicius de Moraes and Tom Jobim (including “A Felicidade," as sung by Elizeth Cardoso).

The songs may be well known now; the music of the favelas, as practiced by the Samba Schools with their agogô bells, atabaques drumming, stomping batacuda solos, and duets, folk line chants, an unusual (even now if one thinks about it) blend of African rhythms, dissonance, and extended harmonics, is still revolutionary today. A 13-minute encore medley by Brazilian guitarist Bola Sete recorded in 1966 at the Monterey Jazz Festival, has been added as a bonus cut, "Manhã de Carnaval," "A Felicidade," and "Samba do Orfeu." The presentation is handsome. The play, the film and the striking sound- track, were responsible for bringing the Bossa Nova to foreign lands.

This musical success spread Brazilian Music around the world.


30 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 One reason Bossa Nova came to repre- sent a “coming home” in Brazil is because of the genres association with the presi- dency of Juscelino Kubitschek. Commonly referred to simply as “JK”, Kubitschek served as the Governor of the state of Minas Gerais and on the National Con- gress of Brazil before becoming Brazil’s 21st president. It is evident why the Kubitschek administration inspired hope within the Brazilian people.

Even famed Brazilian philosopher Thomas Skidmore described it as “the years of confidence” within Brazil.

In 1956, Juscelino Kubitschek de Oliveira Oliveira is elected President and creates the Company of Urbanization of the New Capital (NOVACAP). Kubitschek invites a young architect, Oscar Niemeyer, to com- mand the project. In that same year of 1956, work on site starts. In 1957, a public contest is won by urbanist Lúcio Costa, who presented the innovative ideas for the design of the new capital. His work became known as Plano Piloto (Pilot Plan). Upon taking the helm as Brazil’s Presi- dent, Kubitschek promised “fifty years’ progress in five”, an ambitious target sup- ported by several initiatives.

One such initiative was the Plano de Metas, or plan of goals. This plan focused on the deve - lopment of five key areas Brazil’s econo- my; energy, food, industry, education, and transportation. It was the hope that these key areas could be improved through opening Brazil to foreign capital and improving Brazil’s tax policy. JK invited car makers (like Ford, GM and Volkswagen) to come to Brazil, and opened several highways (in detriment of railways) to stimulate cars selling. Despite creating unwanted inflation, Kubitschek’s plan was a success. Gross Domestic Product in Brazil expanded from 6.9% in 1955 to 9.7% in 1960 and growth in the industrial sector reached 80%.

A function of this economic prosperity was a growth in confidence and hope g among the Brazilian people.

However, JK's darling was Brasília; to have the city finished by the end of his term, he didn't hesitate in allocating financial and human resources to the works; several Boeing's were rented to fly cement, sand and other supplies to the site. Exemplifying this idea of hope in Brazil was the genre of Bossa Nova, with its carefree lyrics concerning largely the ideas of love, beauty, and the sea. While Brasília The capital of Brazil What Brasília has to do with Bossa Nova? Juscelino Kubitschek, or JK, Brazilian President ( 1956-1961 ).

31 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 the plan to create Brasília was initially created in 1821, Juscelino aimed to modernize Brazil in accordance with his pledge of “50 years’ progress in five”.

Brasília was commissioned to be built in 1955 with construction be led by Oscar Niemeyer, then a young architect lauded for his innovative and creative techniques. Situated in the state of Goiás, Brasilia capti- vated Brazilian citizens and international spectators alike. It epitomized what Brazil strived to become, a modern society. A second reason why Bossa Nova is often associated with a time of hope in Brazil is because the rise of the genre coincided with the modernization of Brazil. The moderniza- tion of Brazil culminated with the creation of Brasilia, Brazil’s new capital. Similar to the initiatives aimed at economic growth, the creation and development of Brasíl- iawas led by then President Juscelino Kubitschek.

As Brazilians became more hopeful about their country, they began to associate the contemporary music of the time, Bossa Nova, with the beneficial changes occurring. The economy grew; Brasilia was built; the Brazilian team won its first World Cup. It was in this environment, with a lot of cultural effervescence, that Bossa Nova con- quered the most refined ears. Since then, the Bossa Nova has been the standard. Again, this rapid development and moderni- zation of Brazil coincided with the creation of and growth in popularity of Bossa Nova. Juscelino was so obsessed with the idea of being founder of Brasília that he officially opened the city on April 22 1960, before it was finished.

Oscar Niemeyer The Brasília Project The Ramp Inauguration April 21, 1960 Despite only achieving mainstream popularity in Brazil for less than a decade, Bossa Nova made a lasting impact on Brazil as the representa- tive of hope during the time period. The soft tones of João Gilberto’s guitar and Antonio Carlos Jobim’s piano blended flawlessly with the hope created by the initiatives of Juscelino Kubitschek and the development of the new capital of Brasília. Brazil’s Achievments -The Golden Years — Anos dourados" Garrincha—1958 Brazil is the first World Cup Champion — 1958

32 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Glória Paul, João Gilberto, Tom Jobim & the actress Silwa Koscina All began on the tropical beaches of Rio de Janeiro in the late 1950s, when a small group of mainly middle-class students, artists and musicians came together to create a new sound.

Bossa Nova was a soft samba based on traditional Brazilian music and rhythms, influenced by American Jazz, and a new style of Portuguese lyrics. It was a youthful celebration of romance, beach culture and sensual pleasure. For Bossa Nova the sea and nature was an endless source of inspiration. A turma da Bossa

33 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Roberto Menescal ,Chico Feitosa , Normando Silva, Carlos Vinhas, Ronaldo Boscoli, Helcio Milito , Luiz Eca, & Bebeto Photo date : late 50s The young musicians who were looking for something new, something other than those lamentations which were heard on the radio, began to compose in a different way. They thought Brazilian music needed to get out of the smoky, dark nightclubs and breathe new airs, that is, to go to the sea, since the night themes and the twilight environments sound of sambas-songs were not part of the beach and sportsman life they were used to living..

The Bossa Group

34 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 The meetings at Nara’s Apartment “A turma da Bossa” - The Bossa Group used to meet at Nara Leão’s apartment in Copacabana to listen to music and show off their new work. Nine out of ten people believe Bossa Nova started in Nara Leão's apartment, at Posto 4 in Copacabana, some time in the 1950s. The idea was that at that mythical address, every night, young men and women gathered, armed with their guitars, to sing and play softly so as not to disturb their neighbors.

This, of course, went on until the wee hours and it was from these encounters that the soft and sophisticated style emerged which would revolutionize Brazilian popu- lar music which still perpetuates today. These participants would be, in addition to Nara herself, the guitarists Carlos Lyra, Roberto Menescal and Chico Feitosa, the guitarist and pianist Oscar Castro Neves and the musical brothers Mario, Leo and Iko, the lyricist and reporter Ronaldo Bôscoli, the pianists Luiz Eça and Luiz Carlos Vinhas, the flute player Bebeto Castilho, among others. However, Nara never admitted that Bossa Nova style was born in her apartment.

She was partially incorrect because, in fact, if there had been no meetings in her apartment then nothing would have happened. We can say that Nara Leão is responsible for these meetings, and we can also say that she was the mother of Bossa Nova.

As a woman the singer was also a seductress; she was a brunette, with full thick lips, big teeth, a beautiful body and was very shy. It is impossible to think of Bossa Nova and not to speak of Nara Leão, a singer who was able to express the true feeling of this style which surpassed barriers, borders, and won the world! This is why we owe much respect to the image and work of this great Brazilian popular music singer who is of utmost importance to our cultural history. Everything was modern, daring, unexpected and a slightly agitated, syncopated and the new beat began to be born, unlike anything that had been heard before.

Nara, the only woman, was the center of attention. Nara was the great inspiration, the muse of Bossa Nova and responsible for recording the countless successes of these singers. The singer Nara Leão, known as "The muse of Bossa Nova" Home Sweet Home!

35 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 In 1957, Roberto Menecal, responsible for another great deed, took none other than João Gilberto, who he had just met, to Nara’s apartment. João was delighted with those meetings, but his style of singing was even more contained and reserved, which made the other musi- cians even more enchanted not only by him but by his music. Bossa Nova's twin figureheads are Antônio Carlos Jobim (Tom Jobim), a gifted composer, also blessed with clas- sical good looks, and João Gilberto, a guitarist and singer who came to Rio from the poorer Bahia region.

Surrounding these central figures was a wider Bossa Nova family. It includes 'The Girl from Ipanema' lyricist Vinícius de Moraes, jazz pianist Sérgio Mendes and many others.

The meetings were at Nara Leao’s apartment in the Copacabana district of Rio de Janeiro, where husky-voiced guitarists sang their potent melodies and those written by friends. In essence, the form took Brazilian samba and let the air out of the parade music's tires a bit, focusing less on energy and stamina and more on passion and seduction. Among Rio's original Bossa Nova singer- songwriters in the 1950s were Carlos Lyra and Antonio Carlos Jobim, along with the lyricists Ronaldo Bôscoli and Vinicius de Moraes. There were several meeting locations and one of them was the Copacabana Palace and the Golden Room, where local and international musicians used to mingle and play .

Nara , Menescal (guitar), Bebeto (flute) , Dori Caymmi and Chico Feitosa Sérgio Ricardo, Normando Santos, Tom Jobim, Ronaldo Bôscoli & Nara Leão

36 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Canção do Amor Demais recorded by Elizeth Cardoso, materialized on vinyl the novelty. The Bossa! “Chega de Saudade” ( No more Nostalgia) is univer- sally acknowledged as the song that launched both the Bossa Nova movement and João Gilberto’s career. It’s his signature piece. But João was not the first singer to record “Chega de Saudade”.

That distinction belongs to Elizeth Cardoso, a highly respected singer’s singer who never sold vast quantities of records. “Chega de Saudade” was first recorded by Elizeth Cardoso in 1957 and released in April of 1958 on the album Canção Do Amor Demais; (Lots of love song) as a studio album by Columbia Studios in Rio de Janeiro, and released in May 1958 by the party seal “Festa”. With compositions by Vinicius de Moraes and Antônio Carlos Jobim and relying on the presence of João Gilberto playing guitar on two tracks, it is considered one of the initial landmarks of Bossa Nova. The LP “Canção Do Amor Demais;” went to market and no one could have imagined it would have such a long life, much less that of its 13 songs, 12, unprecedent- edly, were recorded, in Brazil and abroad, in English, French, Spanish and even Japanese.

Nor was it antici- pated that, on two of its tracks, would be the seeds of a real revolution: the Bossa Nova. And, that the artists who recorded it would come to assert themselves as eternal names in popular song, until the April of 1958, a stage of apparent stagnation. The recording came about because Tom Jobim and Vinicius de Moraes had the opportunity to make a limited-edition (2,000 copies), non-profit album of their songs in 1958. Nobody would be talking about it today but for the fact that João Gilberto’s guitar was present on two of its thirteen tracks; however, the public took little notice of its release.

While Elizeth Cardoso was learning the songs, João showed her how to delay and advance a chord’s rhythm the way he thought “Chega de Saudade” should be sung, but Elizeth would have none of it and let him know she could do without his advice. She sang the song the conventional way. Only João’s guitar hinted at what was to come. A few months later, new versions of the song were recorded, first by The Cariocas, through Columbia Records and also by João Gilberto (see the next page) in a 78 revolutions released by Odeon in July which had, on the B side, the song “Bim Bom,” authored by the singer.

The record was recorded in 1957 and released on July 10, 1958.

Chega de Saudade Serenata do Adeus As Praias Desertas Caminho de Pedra Luciana Janelas Abertas Eu Não Existo Sem Você Outra Vez Medo de Amar Estrada Branca Vida Bela Modinha Canção do Amor Demais Performers credit: Elizete Cardoso - vocal Antonio Carlos Jobim - arrangements, direction, and piano João Gilberto - guitar Irany Pinto - violin and conductor Nicolino Copia (Copinha) - flute Gaúcho & Maciel - trombones Herbert - trumpet Vidal - bass Juquinha - drums Seven violins, two violas, and two cellos, unidentified J. Gilberto, A.C. Jobim, and Walter Santos - chorus on "Chega de Saudade TheTracks: The First Bossa Nova Recording - 1958

37 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Side A Side B “Bim Bom” Composer, Vocal and Guitar: João Gilberto Bim bom bim bim bom bom Bim bom bim bim bom bim bom Bim bom bim bim bom bom Bim bom bim bim bom bim bim É só isso o meu baião E nao tem mais nada não O meu coração pediu assim, só Bim bom bim bim bom bom Bim bom bim bim bom bom Bim bom bim bim bom bom É só isso o meu baião E nao tem mais nada não Arrival of the New Beat - July 10, 1958 “Chega de Saudade” Music: Antônio Carlos Jobim Lyrics : Vinicius de Moraes Vocal: & Guitar: João Gilberto Vai minha tristeza E diz a ela Que sem ela não pode ser Diz-lhe numa prece Que ela regresse Por que eu não posso mais sofrer Chega de saudade A realidade É que sem ela não há paz Não há beleza É só tristeza E a melancolia Que não sai de mim Não sai de mim, não sai Mas se ela voltar, se ela voltar Que coisa linda, que coisa louca Pois há menos peixinhos a nadar no mar Do que os beijinhos Que eu darei na sua boca Dentro dos meus braços Os abraços Hão de… João Gilberto re-record “Chega de Saudade” Music: Antônio Carlos Jobim Lyrics : Vinicius de Moraes “Bim Bom” Composer: João Gilberto “No More Nostalgia” Music: Antônio Carlos Jobim Lyrics : Vinicius de Moraes Vocal: & Guitar: João Gilberto Go, my sadness and tell her that without her it can't be Tell her in a prayer To come back because I can't suffer anymore Enough missing her The reality is that without her there's no peace, there's no beauty It's only sadness and melancholy That won't leave me, won't leave me, won't leave...

But if she comes back, if she comes back What a beautiful thing, what a crazy thing For there are less fish swimming in the sea Than the kisses I'll give you in your lips Inside my arms the hugs shall be ... In 1956, João Gilberto, then only 25 years of age, created what is considered to be the first Bossa Nova composi- tion,“Bim-Bom”, released in 1958, spanning a mere “one minute and fifteen seconds,” it is immediately apparent the song was influenced by samba, a genre created several decades earlier. However, a closer listen reveals new musical characteristics. The pronounced percussion and almost nasally vocals, both key elements of Bossa Nova, overshadow other musical components of “Bim-Bom”.

While “Bim-Bom” never received critical acclaim, Gilberto’s new genre, Bossa Nova, gripped another demographic entirely. Hidden on Elizeth’s album, João was quickly "forced" to show his worth. “Chega de Saudade” explained every- thing. It is also a masterpiece, which was followed by two more, by 1961. Not happy with the results of the first recording, João Gilberto included the second-ever recorded version of the track that same year, and released it as a single. The song became a hit and would solidify Bossa Nova as a permanent genre in the Latin music. The song is universally acknowledged as the song that launched both the Bossa Nova movement and João Gilberto’s career.

It’s his signature piece. The new record was recorded as Samba-Canção on July 10, 1958 by Joao Gilberto but with his new guitar Rhythms - The New Beat, later named Bossa Nova.

38 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Single by João Gilberto From Album Chega de Saudade Side A Desafinado Side B Hô-bá-lá-lá Launched February of 1959 Format Disc 78 rpm Recordered November 10, 1958 Genre Bossa Nova Duração 01:58 Recording Company EMI-Odeon Composers Antônio Carlos Jobim and Newton Mendonça Producer Antônio Carlos Jobim D esafinado (Out of Tune) is a Bossa Nova song composed by Antônio Carlos Jobim and Newton Mendonça and recorded by João Gilberto on November 10, 1958, at Odeon studios in Rio de Janeiro.

The song would be released in February 1959 as a single by the EMI-Odeon label and included in the debut album, “Chega de Saudade” (No More Nostalgia), released in the second week of March of that year. It is considered one of the seminal songs of the musical style and one of the best define the genre. The song is a response to the critique at the time, which considered Bossa Nova as "music for off key singers." Sounding like the strangest thing that ever appeared until then in Brazilian music, the first recording of "Desafinado" demon- strated everything innovative and revolu- tionary that Bossa Nova offered: the inti- mate corner, the synthetic lyrics, stripped down, the use of altered chords and, above all, extraordinary rhythmic play between the guitar, the drums and the voice of the singer.

Responsible for this rhythmic game, its interpreter, João Gilberto, immediately assumed a promi- nent role in the trio — completed by composer Tom Jobim and the poet Vinícius de Moraes, who, in creating the Bossa Nova, would irreversibly alter the course of our popular music. With only Tom and Vinicius would we certainly have a modern, sophisticated, renovating music, but that would not be what was called Bossa Nova.

The melody of "Desafinado" is quite "contorted" ("It was even more so in the original conception, João is the one who altered something at the time of recording," informs Tom Jobim) mainly because of an ingenious change in the fifth and sixth degrees of the scale in the initial sentence (“Se você disser que eu desafino, amor”) that falls on the syllable "de" (in " de-sa- fino "),"a"and "mor" (in “amor"). By sus- taining the dominant and softening the super dominant, unusual melodic inter- vals were produced as a pattern for the Brazilian music of the time, to the point of hindering the interpretation of some less gifted singers.

Locating this change on the word "desafinado", the authors created the impression that the singer was only a little out of tune, which led many people to believe that João Gilberto was an off pitch singer. At the same time, the displaced beat of the guitar and the contra-tempo percussion confused musicians, provoking general disorienta- tion. So much novelty presented in a sin- gle composition would inevitably lead to success, which would extend abroad. In the United States, for example, the "Desafinado" single, with Stan Getz and Charlie Byrd, recorded in 1962, surpassed the 1 million copy mark and received the Grammy Award for Best Jazz Perfor- mance.

The phonogram was extracted from the album Jazz Samba, which remained on the American Hit-Parade for 70 weeks and also surpassed the 1 million copy mark. This recording is considered the initial marker of Bossa Nova in the United States.

The song was subsequently recorded by several artists, including Antônio Carlos Jobim, Herb Alpert, Nara Leão, Ella Fitzgerald and Stan Getz who, in 1963, won the Grammy for best Jazz Perfor- mance by a soloist or small group for the song. Two adaptations of the song for the English language were performed: "Slightly Out of Tune ", by Jon Hendricks and "Off Key ", by Gene Lees. The song appears in Showtime's show, Dexter, in its 8th season. “Desafinado and Ho Ba La La” — Single Album - First recording by Joao Gilberto in November 10, 1958 — with his new beat —The Bossa Nova!

39 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 J oão Gilberto's debut LP, 1959's “Chega de Saudade” (No More Nostalgia), was one of the most important Bossa Nova recordings, and credited by many as the album that, more than any other, launched Bossa Nova as a major popular music genre.

It became a classic that changed Brazilian music and achieved great success in the United States. The dozen songs add up to a surprisingly short playing time of about 23 minutes, but introduce several of Bossa Nova's most beloved trademarks: breezy, soothing melo- dies and vocals; tight arrangements with seamless blends of clipped guitar strokes and light orchestration, and, of course, the Bossa Nova rhythm. The most popular of these songs ("Chega de Saudade" and "Desafinado") had already been released as singles in 1958, but though they might be the most memorable tracks, the album maintains a consistently high standard (if a fairly similar mood throughout).

“Desafinado”, a fine ironic take on the criticisms that João Gilberto received for not being a great singer like those which arose in the previous decade. João Gilberto’s second track on the LP, “Bim-Bom”, is another simple but harmonically rich composition that enriches the lyrics in many ways. Although it is not a recording that may appeal to many people immediately, it is nevertheless a fundamental album for understanding an important moment in Brazilian music, the 1950s. João Gilberto was eventually recognized worldwide for his pioneering work in creating a new style that changed the course of Brazilian music and the music industry in Brazil and abroad.

Another movement as strong as Bossa Nova would only appear in the middle of the following decade with Jovem Guarda. Until then, Bossa Nova and João Gilberto would reign absolute.

Track list: “Chega de Saudade” ("Enough Longing") Side A 1 - "Chega de Saudade" (Antônio Carlos Jobim, Vinicius de Moraes) 2 - "Lobo Bobo" (Carlos Lyra, Ronaldo Bôscoli) 3 - "Brigas, Nunca Mais" (Antônio Carlos Jobim, Vinicius de Moraes) 4 - "Hó-Bá-Lá-Lá" (João Gilberto) 5 - "Saudade Fez um Samba" (Carlos Lyra, Ronaldo Bôscoli) 6 - "Maria Ninguém" (Carlos Lyra) Side B 7 - "Desafinado" (Newton Mendonça, Antônio Carlos Jobim) 8 - "Rosa Morena" (Dorival Caymmi) 9 - "Morena Boca de Ouro" (Ary Barroso) 10 - "Bim-Bom" (João Gilberto) ( 11 - "Aos Pés da Cruz" (Marino Pinto, Zé da Zilda) 12 - "É Luxo Só" (Ary Barroso, Luiz Peixoto) Gravadora: Odeon Produção: Aloísio de Oliveira Duration: 22min 37s João Gilberto: guitar, vocal, and arrangements Special guests: Tom Jobim: arrangements Copinha: flute Maciel: trombone Milton Banana: drums Guarany: caixeta Juquinha: triangulo Rubens Bassini: bongô Milton.

Acyr e Edgardo: vocal and backup Listen: https://www.youtube.com/watch?v=yfy2ggYnxsk The Phenomenon -The Consecration of Bossa Nova in 1959

40 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 The first Brazilian musical movement came from the universities, since the first concerts were focused on students, little by little what would become Bossa Nova was occupying bars in the Copacabana circuit, called Beco das Garrafas (Bottle’s Bar). At the end of 1957, at one of these performances at the Israeli- Brazilian College, there would be the idea of calling the new genre Bossa Nova, then only called samba sessions, in an allusion to the fusion between samba and jazz - due to a message probably written by a secretary of the college on a black- board, calling people to a samba-session performance by a "Bossa-Nova" group.

The event was attended by Carlos Lyra, Ronaldo Boscoli, Sylvia Telles, Roberto Menescal and Luiz Eça, and many others, where they were announced as a " Bossa Nova Group” featuring modern sambas. “A Noite do Amor, do Sorriso e da Flor” The Night of Love, Smile and Flower! The first Samba Session - 9/22/1959 João Gilberto/Guitar Israeli-Brazilian College

41 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Bottles Bar (Beco das Garrafas) is a space, located in the Copacabana district in the city of Rio de Janeiro between 21 and 37 Duvivier Street, which includes a series of bars and nightclubs that were fundamental for the emergence and strengthening of the Bossa Nova musical style. The story that matters is that in the early 1960s, three nightclubs exploded in Beco: Little Club, Baccarat (which remains to this day) and Bottle's (reopened in February 2010).

Beco das Garrafas was, with all certainty the best music that people could hear at the time.

People like Lennie Dale, Tom Jobim, Johnny Alf, Baden Powell, Durval Ferreira, Paulo Moura, Carlos Lyra, Sergio Mendes, Luiz Eça, Luís Carlos Vinhas, Dom Salvador, Tenório Jr., Raul de Souza, J.T. Meireles, o maestro Cipó, Edu Lobo, Chico Feitosa (Fim de Noite), Roberto Menescal, Miele, Maurício Einhorn, Rildo Hora, Tião Neto, Manuel Gusmão, Bebeto Castilho, Dom Um Romão, Edison Machado, Airto Moreira, Wilson das Neves, Chico Batera, Vítor Manga, Hélcio Milito, Sylvinha Telles, Dolores Duran, Nara Leão, Marly Tava- res, Betty Faria, Vanda Sá, Marisa Gata Mansa, Dóris Monteiro, Claudette Soares, Alaíde Costa, Elis Regina e Maysa Matarazzo, who decided to leave her traditional family in São Paulo to come to Rio de Janeiro to sing.

She walked from the traditional Copacabana Palace Hotel, barefoot, to Beco to find herself in the Bottle's Bar with Ronaldo Bôscoli, Miele and Menescal, and every- one on her first great album, where she launched “O Barquinho”. The arrival of Bossa Nova was the begin- ning of a great movement in Rio de Janeiro. The nightclubs at the time only played modern songs, and the Beco das Garrafas’ reputation is due to the fact that the nightclubs there gave opportu- nity to the avant-garde, they created songs different from everything that existed, much more advanced. When the activity ended at Beco, almost everyone went to Fiorentina for dinner.

The res- taurant was open until very late because the artists used to arrive when they finished work and the fans went followed.

In spite of all the success and importance at the time, Beco das Garrafas closed after 40 years. In 2014, cultural producer Amanda Bravo,successfully, decided to reopen the space and with the help of other people. Today, Beco das Garrafas, is at the same location as in the 1960’s and hosts a constant flow of concerts for new and well-known artists of our music. For the sake of art, its doors have reopened. Sources Book: Alma Mía, Leny Andrade. Regina Ribas (2012). Rio de Janeiro, Brazil. Site:https://diariodorio.com/historia-do -beco-das-garrafas/ Bottles Bar By Mila Schiavo Musicians who performed at Bottles Bar

42 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Fifty six years ago the song “Garota de Ipanema “ (The Girl from Ipanema) was performed for the first time in public . This was not registered and acknowl- edged at that time, but a recording was made and in March of 2015, a vinyl LP was released. ( see next page) . Show review by Daniella Thompson : Imagine yourself in the summer of 1962, in Copacabana, Brazil. You have never heard most of these songs. On stage is Antonio Carlos Jobim, Vinicius de Moraes, Os Cariocas, João Gilberto, and Milton Banana on drums.

This was Vinicius’ first time as a performer; until now it had been considered unseemly for a diplo- mat to sing in a nightclub. Both Tom and Vinicius sit behind the piano, oversized whiskey glasses before them. This is a good start, but it needs professional voices. The venue is the restaurant Au Bon Gourmet on Avenida Nossa Senhora de Copacabana, Rio de Janieiro. Aloysio de Oliveira is on stage with Antonio Carlos Jobim and Vinicius de Moraes, whose songwriting partner- ship is already at its end (Vinicius has taken up with young Baden Powell de Aquino). The stage is tiny and unadorned, but Aloysio claims it is full.

He brings in the vocal quartet, Os Cariocas, a link between the old sambas that his own group, Bando da Lua, used to sing with and the new sambas that Tom and Vinicius compose. Front and center sits João Gilberto, who makes a specialty of both the old samba and new. The ele- gant audience, whose ranks are filled with Rio’s chic society and artistic cir- cles, dines on French cuisine and listens attentively, applauding and at times yelling encouragements. Accompanied by Otávio Bailly on bass and Milton Banana on drums, the seven men on stage unroll a string of, yes, mostly unknown songs. Os Cariocas warm up the audience with a rousing rendition of The brand-new “Só Danço Samba,” ( I only dance Samba) which Tom augments with his voice and piano.

The message is clear: take away foreign rhythms—I’m going back to my samba roots.

“Samba de uma Nota Só” ( One Samba Note ) is more familiar; João Gilberto had already recorded it on his second LP, “O Amor, o Sorriso e a Flor”. Tom takes it away, with Os Cariocas humming harmony: The group steps in for the refrain and the second verse, changes tempo and rhythms, heaps in falsettos, and finishes off the song on an extended note. João Gilberto now launches into “Corcovado” (also from “O Amor, o Sorriso e a Flor”). He is the one responsi- ble for the first line of the lyrics being as enchanting as it is; Jobim had originally written “Um cigarro, um violão”. The interpretation is vintage João, with the added attraction of Os Cariocas crooning quietly on the repetition.

The crowd laps it up. It’s now time for Vinicius to show off his new work with Baden Powell, and here is the debut recording of what will become his signature piece, “Samba da Bênção” (Samba of the Blessing). The movie “Un Homme e une Femme” is still several years away. That long list of blessed names is fresh: João Gilberto returns with “Amor em Paz” (Love and Peace) recorded the previous year on “João Gilberto”. The crystalline voice is complemented by the vocal group in a short and lyrical interlude, Now comes a complete unknown, marked on the album cover only as “Bossa Nova e Bossa Velha” by Os Cariocas.

No author is indicated, but I’m told by João Samuel that Miguel Gustavo wrote both music and lyrics.

An old-fashioned, bombastic voice inter- poses: The audience laps it up. But there’s more in store. Tom introduces a song he just completed: “Samba do Avião.” Os Cario- cas alternate with him in the second round: Prolonged applause. Cut. The piano begins playing, and a voice from the audience calls: “Tom, muito bonito, hein!” Was he referring to “Samba do Avião”? Now Vinicius shows that he can carry a melodic line and sings his new collaboration with Baden, “O Astronauta.” Os Cariocas hum behind Vinicius, providing the decisive “Pah!” after the line “Sim, você é linda porque é” and concluding with the requisite babadabada.

An Encounter - O Encontro The history-making show August 2, 1962 –at Au Bon Gourmet The historic pop-up show, an encounter that debuted the “The Girl from Ipanema” Tom Jobim, Vinicius de Moraes, Joao Gilberto, Os Cariocas, and Milton Banana

43 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 João Gilberto comes in with two songs from his most recent, eponymous album. First Dorival Caymmi’s “Samba da Minha Terra” (1940), originally recorded by Aloysio’s Bando da Lua. Here we have voice, guitar, and Tom’s occasional piano: He follows it with “Insensatez” (Folly) just voice and guitar: And now comes the evening’s set piece: a shiny new song called “Garota de Ipanema” .

This isn’t the first version written. That one was called “Menina Que Passa” and opened thus: Fortu- nately for all of us, both songwriters found it .l Vinicius did much better the second time around. For its public debut at the Bon Gourmet, Tom, Vinicius, and João wrote a special sung introduction.

João Gilberto (in sweet voice):“Tom and if you did a song now?” The rest, as they say, is history. Not so quick, though. Os Cario- cas break in on the same track with Haroldo Barbosa and Luiz Reis’ “Devagar com a Louça,” which sounds like an old song but in fact is newly minted in the year 1962. These back-to-back tunes are the perfect expression of Bossa Nova versus Bossa Velha. We could all go home now (or play the disc again from the beginning), but not before the final medley of “Garota de Ipane- ma,” “Só Danço Samba,” and “Se Todos Fossem Iguais a Você,” which sums up the six-year partnership of Tom and Vinicius between Orfeu da Conceição and this night of August 1962.

01. Só Danço Samba (Antonio Carlos Jobim/Vinicius de Moraes) Os Cariocas 02. Samba de uma Nota Só (Antonio Carlos Jobim/Newton Mendonça) Tom Jobim & Os Cariocas 03. Corcovado (Antonio Carlos Jobim) João Gilberto & Os Cariocas 04. Samba da Bênção (Baden Powell/Vinicius de Moraes) Vinicius de Moraes 05. Amor em Paz (Antonio Carlos Jobim/Vinicius de Moraes) João Gilberto & Os Cariocas 06. Bossa Nova e Bossa Velha (Miguel Gustavo) Os Cariocas 07. Samba do Avião (Antonio Carlos Jobim) Tom Jobim & Os Cariocas 08. O Astronauta (Baden Powell/Vinicius de Moraes) Vinicius de Moraes & Os Cariocas 09.

Samba da Minha Terra (Dorival Caymmi) João Gilberto 10. Insensatez (Antonio Carlos Jobim/Vinicius de Moraes) João Gilberto 11. Garota de Ipanema (Antonio Carlos Jobim/Vinicius de Moraes) João, Tom & Vinicius Devagar com a Louça (Haroldo Barbosa/Luiz Reis) Os Cariocas 12. Só Danço Samba (Antonio Carlos Jobim/Vinicius de Moraes) João Gilberto & Os Cariocas 13. Garota de Ipanema; Só Danço Samba; Se Todos Fossem Iguais a Você (Antonio Carlos Jobim/Vinicius de Moraes) —Do not forget to check the Daniella Thompson review, full of additional details: http://web.archive.org/web/20070922021855/http:// daniellathompson.com/Texts/Reviews/Bon_Gourmet.htm Source: https://www.youtube.com/watch?v=LzcpCN-eCCs Tracks:

44 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Bossa Nova was marked, for the most part, by a colloquial tone, everyday themes and a lower voice, permeated by samba harmonies and melodic jazz inven- tions. Thus, one of the most remarkable Bossa Nova songs that became known worldwide is "Garota de Ipanema” (The Girl from Ipanema), composed by Vinícius de Moraes and Antônio Carlos Jobim in 1962. The song’s story is true, inspired by the Brazilian model Helô Pinheiro, the beautiful girl that passed by the outskirts of Ipanema beach in Rio de Janeiro.

In Tupi-Guarani, Ipanema means bad water. Stinky, worthless, the worthless river, or bad for fishing, which absolutely did not coincide with reality at the time the song was composed. The name of the neighborhood came from the Baron of Ipanema, considered the founder of the Ipanema Town in 1984. Like the beach, the song also has a lot of history. The song “The Girl from Ipanema” and others such as, “Só Danço Samba” ( I Only Dance Samba), and “Samba do Avião” (Airplane Samba), were composed by Tom and Vinicius to be part of a musi- cal that Abraham Medina intended to produce in Rio de Janeiro in 1961, enti- tled “Blimp”, but that musical never happened.

When Tom went back to work on the song, Tom tried, but couldn't find the lyrics. The inspiration for the final version would come in an afternoon when the duo went to Veloso bar to have a beer (now, Girl from Ipanema, a name that Tom never adopted and satirically called Tom Bar), where "the most beauti- ful thing, full of grace," then a 19 year old student used to pass every day.

The identity of this muse was a mystery that aroused speculation. For some, it was Marina Colasanti. For others, Duda Cavalcanti; and for others, yet some other girl. But the mystery was solved in 1965 when Manchete magazine published a photo of Heloísa Eneida Menezes Paes Pinto, afterwards known as Helô Pinhei- ro, confirming that she was the true Ipanema Girl. The publication did not eliminate the gossip. Many people said that it was a fake news written by Ronaldo Bôscoli, to win the girl’s affec- tion. In any case, Vinicius confirmed Boscoli’s version in an article for Manchete magazine.

For three years she walked by, there at the intersection of Montenegro and Prudente de Morais, on the way to the beach, and we were delighted.

From our Veloso observation post, drinking our beer, Tom and my jaws dropped seeing the natural beauty passing by. The air was more volatile so as to facili- tate the divine balance of her walk. And there she was all beautiful, the girl from Ipanema, developing a path of spatial geometry of her almost samba-like balance, and whose formula would have escaped even Einstein himself; It would take a Antonio Carlos Jobim to ask the piano, in great and religious intimacy, the revelation of its secret. For him we did it, with all respect and silent enchant- ment, the samba that put it in the headlines of the whole world and made our beloved Ipanema a magical word for the foreign listeners.

It was and is for us the paradigm of the young Carioca, but for whose vision and also sadness, car- ries with her towards the sea, the feeling of passing youth, the beauty that is not only ours - it is a gift of life, in its beautiful melancholic flow and constant back flow.

The first public presentation of the song united, for the only time on the same stage, the three great names of Bossa Nova: Tom, Vinicius and João Gilberto, accompanied by the vocal ensemble The Cariocas. It happened on August 2, 1962, on the show Encontro, directed by Aloysio de Oliveira, in the restaurant Bon Gour- met, Rio de Janeiro. The Creation of the Song - “The Girl from Ipanema” - 1962 Her name is Heloísa Eneida Menezes Paes Pinto, but everyone calls her Helô. "The Girl from Ipanema" (Garota de Ipanema) won a Grammy for Record of the Year in 1965.

45 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 The Girl From Ipanema” (Antonio Carlos Jobim and Vinicius de Moraes) went on to become the second-most recorded popular song in history, behind “Yesterday.

Tom Jobim immortalized with his song is now on the edge of Ipanema Beach. The statue created by artist Christina Motta, was designed by the City Hall of Rio to celebrate the 20th anniversary of the death of the great maestro. The statue is located in Arpoador, one of Tom Jobim’s favorite places in Rio de Janeiro.

46 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 C omposer of Bossa Nova classics like "Lobo Bobo" and "Saudade Fez Um Samba" (with Carlos Lyra), Ronaldo Bôscoli was a promi- nent figure of the movement, serving as a coor- dinator and producer as well. His work was also recorded by João Gilberto on his CD, “Chega de Saudade” (1959), which included "O Bar- quinho,"and "Telefone," and "Vagamente," (with Roberto Menescal), "Balançamba." As an experi- enced journalist, he helped promote shows that first brought the new sound to a major audience.

Bôscoli had quite a handful of illustrious artists in his genealogical tree: his great-grand aunt was none other than Chiquinha Gonzaga; he was also a nephew of Jardel Bôscoli and Geysa Bôscoli, and a cousin to Héber de Bôscoli and Jardel Filho. His professional debut was as a journalist at the Diário da Noite paper in 1951. That same year, he went to work as a reporter at the Última Hora paper, where he also worked with Vinícius de Moraes (who would marry his sister Lila soon afterwards). Bôscoli, who was already acquainted with Tom Jobim, was the one who introduced Jobim to his brother-in-law when de Moraes needed a composer for the historic play Orfeu (fundamental for the history of Bossa Nova).

In 1959, with Miéle, Bôscoli gave birth to a series of performances that became known as "pocket- shows" (in contrast to the big orchestral gigs in the luxury casinos prior to the prohibition of gam- bling in the 1940s). Taking place in the nightclubs in Beco das Garrafas (Rio), the shows presented Sérgio Mendes, Nara Leão, Sívia Telles, Elis Regi- na, and other artists who would become famous.

His first recorded song was "Senate" (with Chico Feitosa). Bôscoli produced shows for Joan Craw- ford and Sarah Vaughan (in 1967 and 1971, re- spectively), along with several other shows by Brazilian artists. He also directed Elis Regina's TV show “O Fino da Bossa” and was married to her from 1967 to 1972. With Miéle, Bôscoli produced shows for major acts like Roberto Carlos for 24 years. Ronaldo Boscoli (1928-1994) Composer, songwriter, record producer and journalist. An important figure of the Bossa Nova movement. Boscoli organized the first Samba Session in 1959 at the Israeli-Brazilian College introducing for the first time ever the Bossa Nova Group.

Since he did not know how to explain Bossa Nova at the time, he said: "Philosophically, Bossa Nova is a state of mind." And it is until today! Source: https://www.allmusic.com/artist/ronaldo-bôscoli-mn0000284123

47 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 For nearly fifty years, the local radio broadcaster Felix Grant was a familiar voice to Washington, D.C. jazz lovers. He began his career in 1945 on radio station WWDC-AM and in 1953 he moved to WMAL-AM, where he spent thirty years as host and producer of The Album Sound.

The program featured the full spec- trum of jazz and blues with an inter- national flavor and had one of the widest listening audiences in the Washington, D.C. area. Grant’s early interest in and fascination with Brazilian culture and music played a pivotal role in introducing Bossa Nova to the United States. He was often dubbed an ambassador of music in recognition of his promo- tion of Brazilian and Jamaican cul- ture in the United States. He was playing the music and introducing these new sounds to American audi- ences long before they became household words. His honors includ- ed Brazil’s highest award to a foreigner, the Order of the Southern Cross; recognition from the Wash- ington, D.C.

government, including plaques, proclamations, and the designation of Felix Grant Day in 1985; and a music-radio library named after him at the University of Jamaica. His trademark broadcast professionalism and his love for the music and musicians who created it earned him respect and recognition both at home and abroad. Source: http://bossanovaproject.us/Mini-Exhibits/exhibits/04.html On September 10, 2014 an exhibition on “Bringing Bossa Nova to the United States” was presented by the Felix E. Grant Jazz Archives, Learning Resources Division at University of the District of Columbia. The exhibi- tion included photographs; concert programs; correspondence; awards; unique interviews of prominent artists such as João Gilberto, Leny Andrade, Sergio Mendes and Dorival Caymmi; and a digital collection, the Bossa Nova Project, which forms the basis for exhibits that may be accessed online.

Together they provide a glimpse into Brazilian music of this period and its explosive impact on the American jazz scene. The exhibition bringing Bossa Nova to the United States returns to the Felix E. Grant Jazz Archives after its debut as part of the critically acclaimed Jazz Samba Project at Strathmore.


48 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Theguitarist Charlie Byrd received an invitation from the U.S. State Department to do a fourteen-week tour of Latin America at the beginning of 1961. His visit was part of a cultural exchange tour sponsored by the U.S. State Department, there he heard Brazilian musicians' experimental jazz- samba fusion, and liked it so much that he brought tapes of the music back home with him.

He returned to DC. convinced that, among all he heard, the Brazilians had something really new, the Bossa Nova. Byrd began playing in this style with his trio in a Washington DC bar, the Show- Boat, and struggled to record Bossa Nova, which would only happen many months later, when the tenor sax Stan Getz accepted his invitation to record a Brazilian music record.

The record was Jazz Samba, an LP by saxophonist Stan Getz and local guitarist Charlie Byrd. The LP “Jazz Samba” was recorded on February 13, 1962, released in April, and one of the tracks, "Desafinado", experienced success on the radio, the results of the two American percussionists trying to imitate Brazilian record record- ings were unimpressive. Additionally, Getz's solos, impregnated with a jazz line, were miles away from the Brazilian melodic fluency. Such imperfections to Brazilian ears were not logically perceived by the Americans nor prevented Stan Getz and Charlie Byrd from beginning a process, by donating themselves as musi- cians, of introducing Bossa Nova to the United States.

After being released on the Verve label in April 1962, it became the first jazz album to top the Billboard 100 chart, and sold 1.6 million copies over the next five years. One track, "Desafinado," won a Grammy for Getz for best jazz solo performance. According to a 1962 United Press International article, local jazz DJ Felix Grant began playing Brazilian rec- ords on his WMAL show in the late 1950s. Probably around 1960, he met Brazilian DJ Paulo Santos, who was visiting Wash- ington, through the Pan American Union, and invited Santos onto his program to play some early Bossa Nova records by guitarist João Gilberto.

Byrd himself described Grant as the man "who intro- duced the Bossa Nova ." As recounted by Getz biographer, Dave Gelly, in December 1961, Byrd went to see a performance by Getz at a Washington, DC club, and visited him backstage. Byrd played the Brazilian tapes for Getz, who then convinced Verve to let them make an LP of Brazilian-influenced music. In prepa- ration, Byrd put together and rehearsed a rhythm section, made up of musicians who'd been on the Brazil tour, including his bassist brother Gene (later known as Joe) Byrd, and drummers Buddy Deppenschmidt and Bill Reichenbach. In February 1962, Getz and jazz producer Creed Taylor flew down from New York to begin the session.

According to Richards' article, Getz often liked to record at the Morris Cafritz Center on 16th Street N.W., but traffic noise that day prompted him to choose an alternate location. Gelly tells it slightly differently; he reports that Byrd took Getz to a hall attached to the All Souls Unitarian Church at Harvard and 16th, because it supposedly had the best acoustics available in the District. Amazingly, the ensemble took just three hours to record Jazz Samba's seven tracks, getting down all but one in a single take, and working so fast and fluidly that Getz and Taylor were able to get back to New York in time for dinner.

Byrd's clever rhythm arrangement meshed defty with Getz's solo on the opening cut, "Desafinado," and Byrd's idea of using two drummers turned out to be a master- stroke. As Gelly observed, "each could play a simple pattern , the two patterns combining to create a shifting, shimmer- ing beat." Though Getz was pleased with the result, he never figured that it would become such a commercial breakthrough. "I thought it was just pretty music," he later explained. "I never thought it would be a hit." But it was.

Unfortunately, Byrd was deprived of a share of the Grammy for "Desafinado" because his solo was cut from the single version. And the record's success led to a financial dispute, in which Byrd ended up suing Getz and the record company over royalties, and settled for $50,000. After the bossa nova craze subsided, Byrd continued to perform in the Washington area and elsewhere over the next several decades, including a show in his hometown of Annapolis just two months before his death in 1999 at age 74. The Bossa Nova Craze in DC.-1962 In a 2012 retrospective, Washington Post music writer, Chris Richards observed that the record's success caused Frank Sinatra and Elvis Presley, among others, to begin Experimenting with Brazilian music.

"Bossa Nova’s pliant melodies and hushed rhythms expanded America’s notions of global pop music moments before Motown and the Beatles roared," he observed. The record became such a sensation that Billboard soon asked in a headline: "Is the Bossa Nova the New Twist?"

49 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Tracks: 1- "The Girl from Ipanema" Antônio Carlos Jobim, Vinicius de Moraes, and Norman Gimbel 2 - "Doralice" Antônio Almeida and Dorival Caymmi 3 - "Para Machucar Meu Coração" Ary Barroso 4 - "Desafinado" Tom Jobim and Newton Mendonça 5 - "Corcovado (Quiet Nights of Quiet Stars)": Tom Jobim 6 - "Só Danço Samba" Tom Jobim and Vinicius de Moraes 7 - "O Grande Amor" Tom Jobim and Vinicius de Moraes 8 - "Vivo Sonhando" Tom Jobim Getz/Gilberto is an album by American saxophonist Stan Getz and Brazilian guitarist João Gilberto, featuring pianist and composer Antônio Carlos Jobim (Tom Jobim), who also composed many of the tracks.

It was released in March 1964 on Verve Records. The album features the vocals of Astrud Gilberto on two tracks, “The Girl from Ipanema” (Garota de Ipanema) Desafinado", and "Corcovado". The artwork was done by artist Olga Albizu. Getz/Gilberto is a jazz and bossa nova album, and includes tracks such as ""Corcovado", and "Garota de Ipanema".

The latter received a Grammy Award for Rec- ord of the Year, and launched Astrud Gilberto to international stardom. "Doralice" and "Para Machucar Meu Coração" strengthened Gilberto's and Jobim's respect for the tradi- tion of pre-bossa nova samba. Getz/Gilberto is considered the record that popularized bossa nova worldwide, and was one of the best-selling jazz albums of all time. The album was also a commercial success, selling more than 2 million copies in 1964. It was later featured in Rolling Stone's and Vibe's lists of best albums of all time. Getz/ Gilberto was widely acclaimed by music crit- ics, who praised Gilberto's vocals and the album's bossa nova groove and minimalism.

Getz/Gilberto received Grammy Awards for Best Jazz Instrumental Album, Individual or Group and Best Engineered Recording - Non-Classical; it also became the first non-American album to win one for Album of the Year, in 1965.

It won the 1965 Grammy Awards for Best Album of the Year, Best Jazz Instrumental Album, Individual or Group and Best Engi- neered Recording - Non-Classical. "The Girl from Ipanema" also won the award for Record of the Year in 1965. This was the first time a jazz album received Album of the Year. It was the only jazz album to win the award until Herbie Hancock's River: The Joni Letters 43 years later, in 2008. Source: https://en.wikipedia.org/wiki/Getz/Gilberto

50 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Creed Taylor (born May 13, 1929) is an American record producer, best known for his work with CTI Records, which he founded in 1968.

His career also included periods at Bethlehem Records, ABC-Paramount (including their jazz label, Impulse!), Verve, and A&M Records. In the 1960s, he signed Bossa Nova artists from Brazil to record in the US, such as Antonio Carlos Jobim, Eumir Deodato, João and Astrud Gilberto, among others. Taylor wasn’t typical of the moneyed types that populat- ed the upper echelons of the booming American record industry of the 1950s and 1960s. He grew up in Bedford, Virginia, surrounded by country and bluegrass music. His passion for sound stretched in all directions. Taylor has won numerous Grammy Awards for his decades of production work.

These include awards for: Focus (Stan Getz, 1961), “Desafinado” (Stan Getz/Charlie Byrd, 1962), “Conversations with Myself” (Bill Evans, 1963), “The Girl from Ipanema” (Stan Getz/Joao Gilberto, 1964), “Willow Weep for Me” (Wes Montgomery, 1969), and “First Light” (Freddie Hubbard, 1972). To virtually all Americans, the words "Bossa Nova" are synonymous with Brazilian jazz. More specifically, they immediately trigger memories of Bossa Nova's greatest American hit, "The Girl From Ipanema." When Creed Taylor introduced Astrud Gilberto's version of the song to American audiences in 1964, he had no idea what kind of lasting impact it would have.

He had no idea that Getz/ Gilberto would come to define Brazilian music for American audiences. Forever. Talent doesn’t always take you straight to the top like an elevator. Sometimes even the exceptional artists need a little guidance about where to alight and when. Timing is a critical skill both inside and outside the studio.

The Brazilian master Antonio Carlos Jobim left an indeli- ble mark on music but an American record producer by the name of Creed Taylor played a big part in his success at critical points. The 1970’s Stone Flower was the apogee of their long collaboration together. It’s a rich testament to their achievements, striving in tandem for the lazy perfection, brothers in arms. In 1961, after a trip to Brazil, he persuaded Jobim to come to New York and there he set about shaping a new sound that would spark a nation’s love for Bossa Nova, a smooth intertwining of samba and jazz. Creed produced the Getz/Gilberto record which Jobim orchestrated in 1963.

This collaboration blew up like fireworks across the US, winning a Grammy and garnering the admiration of all the greats including Frank Sinatra, who quickly wanted in on the craze and recorded an album with Jobim in 1967 under the name Francis Albert, a nod to the sophistica- tion of their endeavour.

Stan Getz, Tom Jobim, Creed Taylor, João Gilberto and Astrud Gilberto by Branca Dias Sources: https://en.wikipedia.org/wiki/Creed_Taylor0 https://www.irishtimes.com/culture/music/the-original-boss-the- man-who-brought-bossa-nova-to-the-masses-1.3252510 Creed Taylor The Bossa Nova Producer in USA - 1964 THE FIRST PRODUCER OF BOSSA NOVA IN THE US


52 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Bossa Goes Internationally Carnegie Hall Concert November 21, 1962 at 8:30pm Bossa Nova was internationally established in 1962, in a historic concert at Carnegie Hall in New York, entitled “ Bossa Nova” the new Brazilian Jazz.

On the night of November 21, 1962, a rainy Wednesday in New York City, Bossa Nova experienced one of the most important chapters of its existence. It would change the course of its history and its leading figures. In the audience, of over 3000 people, were some names from the first string of Jazz: the singer Tony Bennett, the trumpeters Dizzy Gillespie and Miles Davis, the saxophonists Gerry Mulligan and Cannonball Adderley, the flutist Herbie Mann, the Modern Jazz Quartet. And many of them have even been welcoming the team of Brazilian musicians at the airport when they arrive on American soil.

With deference to the Brazilians, days later the American musicians were able to drink directly from the source of the rhythm and the contagious spice of the Bossa Nova. And the great proof that Bossa Nova influenced Jazz and vice versa.

The concert was organized by the president and owner of Audio- Fidelity Records, Sidney Frey, along with Show magazine, present- ed a landmark Bossa Nova concert at New York’s Carnegie Hall with support of the Itamaraty. Frey flew to Rio in September and invited the Bossa Nova hierarchy, including João Gilberto, Antônio Carlos Jobim, Luiz Bonfá, Sérgio Mendes, Roberto Menescal, Milton Banana, Oscar Castro-Neves, Carlos Lyra, Normando Santos, and many other artists, some unknown and not supported of Bossa Nova Movement. They performed alongside jazz musi- cians such as Stan Getz, Charlie Byrd, Lalo Schifrin, and Gary McFarland in what turned out to be a historic event despite many production and programming problems.

The concert was sold-out and more than 1,000 disappointed people were turned away. In addition to presenting the new sound to North America and to the world, the concert also gave birth to the iconic Getz/Gilberto ensemble—that included Jobim and Miltinho Banana from the night's lineup—whose debut release took Bossa Nova to an even higher level of international recognition when released in 1964. The repertoire brought some pearls like “Samba de Uma Nota So” (One Note Samba) with Sérgio Mendes's Sextet, “Influência do Jazz” (Influence of Jazz) with Oscar Castro Neves’ Quartet, “Manha de Carnaval” (Carnival Morning) and “A Felicidade” (Happiness) with Agostinho dos Santos, Luiz Bonfá and Oscar Castro Neves’ Quartet, “Influência do Jazz” (Influence of Jazz) was repeated but now with Carlos Lyra, “O Barquinho” (The little Boat) with the anthology recording by Roberto Menescal (who debuted in great style and at the same moment retired as singer, as he described in his books) and Again with João Gilberto and Milton Banana.

Interestingly, Tom Jobim's participation was not recorded in the released version. A pity, because anyone who was there assured that it was one of the most striking performances. One of the highest was the performance by Luiz Bonfá on guitar and Agostinho dos Santos singing “Manhã de Carnaval” (Carnival Morning). They were responsible for the largest round of applause, singing and playing selections from "Black Orpheus"-Palme d'Or in Cannes. In the background, the twins, Oscar and Ico Castro Neves, played accompaniment during their performance. “The forest of microphones did not allow the audience to see the artists.” A reaction to the concert from the legendary New York Times jazz critic John S.

Wilson was mixed. He grumbled about the "forest of microphones," the amplification which "reduced the Brazilian instrumental groups to a monotonous mush," and most of the singers who "had little to offer." Gilberto ("several notches above this") and Bonfá (who made "a positive impression") escaped criticism. New Yorker magazine criticized, with a story titled "Bossa Go Home". But the fact is that the house production, with- out intimate knowledge of the genre, placed too many micro- phones scattered around the stage, 11 in total. With its sparse instrumentation and vocation for timid performers, Bossa Nova suffered with excessive reverberation.

Normando Santos sang with the microphone off. But there were two moments that unani- mously enchanted; Tom, with “Samba de uma nota só” (Samba of a single note) and João Gilberto, who waited in absolute silence to sing “Samba da minha terra” (Samba from my land). Sidney Frey produced the LP, Bossa Nova at Carnegie Hall, and film clips from the concert were included in a CBS Eyewitness News show, “The New Beat” that was broadcast five weeks later. A follow-up concert—reportedly in reaction to poor amplification at the original concert—was arranged several weeks later at the Village Gate in Greenwich Village where many of the same musi- cians performed.

The Carnegie Hall concert was important in promoting Bossa Nova both in the United States and Brazil. It launched professional collaborations between Brazilian and United States’ artists and resulted in recording contracts for many of the Brazilian musicians.

At the end of the Carnegie Hall show, it was also practically the end of Bossa Nova Moviment, except for the fact that some of the most forceful musicians had been given the movement and decid- ed to stay in the United States, like Oscar Castro-Neves, Sérgio Mendes, Jobim, and João Gilberto went to Mexico. And because of that, the Bossa Nova group fell apart and each one followed their musical trajectory. The famous meetings that took place in the city of Rio de Janeiro in the houses of Nara Leão, Tom Jobim and others, did not happen anymore. Bossa Nova from that moment on belonged to the world music.

53 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 By David Drew Zingg Antonio Carlos Jobim Joao Gilberto Carlos Lyra Agostinho dos Santos Roberto Menescal Caetano Zamma Available photos Oscar Castro Neves Group 3,000 people attended

54 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Two years after the Carnegie Hall Concert, the alread platform to communicate about political issues dur became a symbol of resistance to repression. With th of 1964, the songs began to bring about social theme ment of political contestation of the Carioca midd introduced by the dictatorship.

It was the beginning movement that originated the Bossa Nova ended in mean the aesthetic extinction of the musical style, w tions of artists and still delights and enchants those w A sudden halt to freedom The dictatorship takes over the sun, the flo The repression lasted 20

55 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 dy super famous style also became an important ring the military coup in 1964. The sweet notes he political changes caused by the military coup es. In this way, the music became a clear instru- dle class, a symbol of resistance to repression g of MPB( Brazilian Popular Music). In fact, the n 1966, however, its chronological end did not which served as a reference for countless genera- with sensitive ears and expanded musical taste. of speech and creativity.

Military dictatorship in Brazil (1964 – 1985) owers, the love and freedom of speech! As the art form spread, it was progressively looked at as an inauthentic genre amongst Brazilians.

An additional catalyst was the ultimate exchange in power from Juscelino Kubitschek to the Brazilian military govern- ment. With this exchange, the romantic and pleasant sounds of Bossa Nova contrasted starkly with the realities of Brazil which were characterized by unrest and instability. The fear that now dominated the public led to the ushering in of new sounds such as Tropicalia and the end of Bossa. Nova as the sounds of hope and positivity in Brazil.

0 years 1964 -1984.

56 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Geraldo Vandré “Caminhando” (Walking) “Pra não dizer que não falei das flores" (So no one can say that I didn’t talk about of the Flowers) During the military dictatorship (1964-1985), many Brazilian artists left or were forced to leave the country and go abroad. The first countries sought by the artists were Uruguay and Chile, in the hopes that the dictatorship would last a short time. After a few years, seeing that there was no change in Brazilian politics, the artists began a search for new addresses.

The primary destination for the Brazilian exiles was France. Paris has become a type of exile capital. Some Brazilians also settled in other European countries such as Sweden. The lyrics that expressed the ocean, sun, flowers and love are now expressing pain, frustration, and loss of freedom. “Pra não dizer que não falei das flores" (So no one can say that I didn’t talk about of the Flowers) also known as “Caminhando” (Walking) composed by Geraldo Vandré (Brazilian singer, composer and guitar player) in 1968 became the anthem against the military dictatorship in Brazil. The end of the first generation of Bossa Nova and the beginning of MPB ( Brazilian Popular Music)

57 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Caminhando e cantando,e seguindo a canção; Somos todos iguais, braços dados ou não; Nas escolas, nas ruas, campos, construções; Caminhando e cantando, e seguindo a canção Vem, vamos embora, que esperar não é saber Quem sabe faz a hora, não espera acontecer Vem, vamos embora, que esperar não é saber Quem sabe faz a hora, não espera acontecer Pelos campos há fome, em grandes plantações Pelas ruas marchando, indecisos cordões Ainda fazem da flor, seu mais forte refrão E acreditam nas flores, vencendo o canhão Vem, vamos embora, que esperar não é saber Quem sabe faz a hora, não espera acontecer Vem, vamos embora, que esperar não é saber Quem sabe faz a hora, não espera acontecer Há soldados armados, amados ou não Quase todos perdidos, de armas na mão Nos quartéis lhes ensinam, uma antiga lição De morrer pela pátria, e viver sem razão Vem, vamos embora, que esperar não é saber Quem sabe faz a hora, não espera acontecer Vem, vamos embora, que esperar não é saber Quem sabe faz a hora, não espera acontecer Nas escolas, nas ruas, campos, construções Somos todos soldados, armados ou não Caminhando e cantando, e seguindo a canção Somos todos iguais, braços dados ou não Os amores na mente, as flores no chão A certeza na frente, a história na mão Caminhando e cantando, e seguindo a canção Aprendendo e ensinando, uma nova lição Vem, vamos embora, que esperar não é saber Quem sabe faz a hora, não espera acontecer Vem, vamos embora, que esperar não é saber Quem sabe faz a hora, não espera acontecer Walking and singing, and following the song; We are all equal, arm in arm or not; In schools, on the streets, fields, buildings; Walking and singing, and following the song Come on, let's go, because waiting is not knowing Those who know do it now, don't wait for it to happen Come on, let's go, because waiting is not knowing Those who know do it now, don't wait for it to happen In the fields there is hunger, within great plantations On the streets’ marching, undecided cords Still making the flowers, their chorus stronger And believing in the flowers, beating the cannon Come on, let's go, because waiting is not knowing Those who know do it now, don't wait for it to happen Come on, let's go, because waiting is not knowing Those who know do it now, don't wait for it to happen There are armed soldiers, loved or not Almost all lost, with guns in their hands In the barracks, they teach them an old lesson To die for the fatherland, and to live without purpose Come on, let's go, because waiting is not knowing Those who know do it now, don't wait for it to happen Come on, let's go, because waiting is not knowing Those who know do it now, don't wait for it to happen In schools, on the streets, fields, buildings; We are all soldiers, armed or not Walking and singing, and following the song We are all equal, arm in arm or not; Lovers in the mind, and flowers on the ground Reality ahead, history in hand Walking and singing.

and following the song Learning and teaching, a new lesson Come on, let's go, because waiting is not knowing Those who know do it now, don't wait for it to happen Come on, let's go, because waiting is not knowing Those who know do it now, don't wait for it to happen Caminhando — Walking “Pra não dizer que não falei das flores" (“So as Not To Say that I Didn’t Speak of the Flowers" ) LISTEN


59 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Like everything that is new and successful, Bossa Nova also became a brand and would soon be associated with all kinds of products in Brazil and the United States: footwear, appliances, glasses, powdered milk and even a weird way to comb hair. The brand triggered a commercial fever and served to associate the products with the idea of being daring, young and modern.

In Manchester , UK it was created a Bossa Nova Club in 1965. Bossa Nova Club —1 965 / Chico's / Top Cat, Todd Street, Manchester The Bossa Nova was near the side entrance to Victoria Station on Todd Street. It was a cocktail bar in the 1960s and in later guises was Chico's (named after Bossa Nova's owner, Chic Taylor and the top floor was also the Top Cat Club.

60 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Frank Sinatra and Antonio Carlos Jobim-1966 Photo: Courtesy of Frank Sinatra Enterprises What else honored Brazilian music abroad? We feel that the fact that Frank Sinatra invited Tom Jobim to record a Bossa Nova album, with Tom's songs, is the important symbol of the respect and honor of Brazilian music abroad. December 1966. Jobim was having a beer, as usual, in Veloso's bar, when the owner of the bar Mr. E Arménio, called him "Mr. Tom, I have a call for you from the United States" and on the other end of the line was none other than Frank Sinatra, most important singer in the world.

Even so, Mr. Arménio merely announced: “a call from the United States. There's a gringo out there wanting to talk to you.” It was then that Frank, Frankie, the voice, announced the good news: "I want to make a record with you and to know if you like the idea." Sinatra didn't speak English, but Tom spoke English. The answer was allegedly: "It's an honor, I'd love to." Until then, "The girl from Ipane- ma" had merited 40 versions in just the first year of existence. Nat King Cole had sung it at the Copacabana Palace with Sylvinha Telles, the greatest singer of the movement. Miles Davis had attended the formal Bossa presentation at Carnegie Hall.

Bossa wasn't young anymore. It had been deemed extinct in Brazil. But for the rest of the world, it was just starting. On a splendid December day, Tom Jobim knew that it was not a joke when they told him that Frank Sinatra wanted to talk. Maybe a genius really knows what a genius is .Tom flew the next day to Los Angeles and there stayed for months recording with Frank Sinatra. The Francis Albert Sinatra & Antônio Carlos Jobim album was released in 1967. The tracks were arranged and conducted by Claus Ogerman, accompanied by a studio orchestra. Along with Jobim's original composi- tions, the album features three standards from the 'Great American Songbook " Change Partners ", "I Concentrate on You", and “Baubles, Bangles and Beads") arranged in the Bossa Nova style.

Sinatra and Jobim followed up this album with sessions for a second collaboration, titled Sinatra-Jobim. That album was briefly released on 8-track tape in 1970 before being taken out of print at Sinatra's behest, due to concerns over its sales potential. Several of the Sinatra-Jobim tracks were subse- quently incorporated in the Sinatra & Company album (1971) and the Sinatra–Jobim Sessions compilation (1979). In 2010 the Concord Records label issued a new, comprehensive compilation entitled Sinatra/Jobim: The Complete Reprise Recordings. At the 10th Annual Grammy Awards in 1968, Francis Albert Sinatra & Antônio Carlos Jobim was nominated for the Grammy Award for Album of the Year, but lost to the Beatles Sgt.

Pepper's Lonely Hearts Club Band. Sinatra had won the previous two Grammy awards for album of the year, in 1966 and 1967. Jobim had to wait for Sinatra to return from a holi- day in Barbados where he was taking a mutually agreed 'break' from his marriage to Mia Farrow. Guitarist Al Viola played on "Change Partners" due to Jobim's difficulty with the track, but is not credited on the album. Lyricists Aloysio de Oliveira and Ray Gilbert were also present at the sessions.

The album was recorded on January 30 and February 1, 1967, at United Western Recorders in Hollywood, Los Angeles. Bossa Nova was never meant to remain so appreciated only in its native cradle. Among its most famous fans, Frank Sinatra was responsible for taking the lead into introducing the melodies of love and beauty to the world. ALBUM RELEASED IN 1967

61 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Bossa turned into big business. In the hands of pianist/ bandleader Sérgio Mendes and others, the music took on a more heavily arranged pop gloss.

By the late ’60s, however, a Brazilian reaction to this development was in full swing. The three-time Grammy Award winner and Brazilian music Legend Sérgio Santos Mendes has over 55 album releases, and plays Bossa Nova heavily crossed with jazz and funk. This record is a continuation of the Bossa Nova Journey in USA. 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. ( see full bio in the edition).

His early music, represented on albums like Bossa Nova York and “The Girl from Ipanema”, was heavily influenced by Antonio Carlos Jobim, on whose recording Mendes worked. Mendes liked what he had found on his visit to New York, and in 1964 he moved to the United States, initially to play on albums with Jobim and Art Farmer, and formed Brasil '65 the following year. The group recorded for Capitol without attracting too much notice at first. In 1966, however, Mendes and his band -- renamed Brasil '66 were signed to A&M Records and something seemed to click between the group and its audience.

The group, consisting in its first A&M incarnation of Mendes on keyboards, Bob Matthews on bass, João Palma on drums, Jose Soares as percussionist, Lani Hall (aka Mrs.

Herb Alpert and A&M's co-founder) on vocals, and Janis Hansen on vocals, was successful upon the release of its first album for the label, with its mix of Light Jazz, a Bossa Nova beat, and contemporary Soft Pop melodies. Their self-titled debut LP rose to number six nationally, propelled by the presence of the single "Mas Que Nada." composed and originally perfomed by Jorge Ben. All of Mendes' jazz albums for Atlantic Records, through Nesuhi and Ahmet Ertegun, had low sales. Richard Adler suggested that Mendes and the group sing in English, as well as Portu- guese that Mendes had demanded, and Adler sought new English-based material such as "Going Out of My Head" by Teddy Randazzo and Bobby Weinstein.

In order to sing these songs properly in English, Adler suggested that the group find two American girl singers who would sing in both English and Portuguese. Adler called his friend Jerry Dennon, and A&M Records founders Herb Alpert and Jerry Moss, and arranged for an audition for Mendes' new group, which was dubbed "Brasil '66.'" Alpert and Moss signed Mendes and his group to A&M Records. Adler then went to the Ertegun Brothers at Atlantic Records and sought to have them release Mendes from his Atlantic Jazz contract. Ahmet agreed to allow him to record albums under name "Sergio Mendes and Brasil '66" with A&M.

Mendes was not at this meeting, only Adler and Ahmet Ertegun. Alpert took over as producer for the A&M albums, and the group became a huge success with their first single, "Mas Que Nada", by writer Jorge Ben. The first album on A&M was 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.

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 played guitar. 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. After bouncing around Philips, Atlantic, and Capitol playing Brazilian jazz or searching for an ideal blend of Brazilian and American pop, Sergio Mendes struck gold on his first try at A&M (then not much more than the home of Herb Alpert & the Tijua- na Brass and the Baja Marimba Band).

He came up with a marvelously sleek, sexy formula: dual American female voices singing in English and Portuguese over a nifty three-man bossa nova rhythm/vocal section and Mendes' distinctly jazz- oriented piano, performing tight, infectious arrangements of carefully chosen tunes from Brazil, the U.S., and the U.K. The hit was Jorge Ben's "Mas Que Nada," given a catchy, tight Bossa Nova arrangement with the voice of Lani Hall soaring above the swinging rhythm section. But other tracks leap out as well; the obvious rouser is the Brazilian go-go treatment of the Beatles' "Day Tripper," but the sultry treatment of Henry Mancini's "Slow Hot Wind" and the rapid-fire "Tim Dom Dom" also deserve mention.

See Video THE CONTINUATION OF THE BOSSA NOVA JOURNEY IN THE US. Source: https://www.allmusic.com/album/sergio-mendes-brasil-66-mw0000319019 PURCHASE




65 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 “The Creator of the New Guitar Beat” The singer and guitarist João Gil- berto do Prado Pereira de Oliveira was born in a small city of Juázeiro in the interior of Brazil's northeastern state, Bahia. He was the creator of the new sound that led to the creation of a new musical rhythm in Brazil called Bossa Nova in the late 1950s. João Gilberto— His wife Astrud Gilberto was the vocalist on "The Girl from Ipanema” (Garota de Ipanema), was also a contributor to the Bossa Nova movement in the 1960s.

Gilberto seemed attracted to music early in life but did not begin playing until age 14 when his grandfather gave him a guitar. Within a year, despite his father's disapproval, he was leading a band composed of fellow students. The sound of U.S. Big-band Jazz had penetrated Brazilian radio by the 1940s and Gilberto grew up with the music of Duke Ellington and Tommy Dorsey in addition to Brazilian pop songs and Samba music. A less com- mon influence was the crisp, operetta- flavored style of U.S. pop singer Jeanette MacDonald.

In 1949 Gilberto headed for the city of Salvador, Bahia, in hopes of launching a musical career.

He went on to the metropolis of Rio de Janeiro a year later. His attempts to land a vocal radio slot were unsuccessful, and a local band ousted him as its lead vocalist due to a halfhearted attitude on Gilberto's part which sometimes led him to skip live performances. Even after success came his way, Gilberto remained reluctant to perform in public. Well before the hipster era, Gilberto embarked on a creative but rootless existence marked by heavy mari- juana use. Technically homeless at times, Gilberto performed in nightclubs when it suited him and gained a circle of friends that included several future stars of Brazilian music—notably, vocalist, Luiz Bonfa and, pianist and composer, Antonio arlos Jobim.

Concerned that Gilberto might be sinking into a downward spiral, a friend inter- vened and took him to the smaller city of Porto Alegre. Soon Gilberto moved in with his sister and began to spend much of his time practicing his guitar and singing obsessively. Mystified by his behavior, Gilberto's family checked him into a mental hospital in Salvador. Soon released, he swore off drug use. Back in Rio, Gilberto began writing songs and sought out Jobim as a collaborator. In the solitude of his sister's home Gilberto had forged a new style that distilled many of Brazil's complex percussion rhythms down to an essential set of patterns that could be played on the guitar; his sound was unlike anything heard before on guitar in Brazil, where the instrument had largely been relegated to the role of accompaniment up to this point.

Some called it violão gago, or "stammering guitar." He had a unique vocal style to match, marked by a near-total absence of vibrato which infused his quiet singing with a unique conversational quality. Gilberto was also influenced by contem- porary harmonic developments in Ameri- can jazz, particularly by the West Coast musicians whose "cool" aesthetic meshed well with the inherent mood of Brazilian music. Jobim, at the time, was working as a staff arranger with the large EMI record label, and the two began to shape a popular-music revolution. The story goes (and is generally accepted by scholars as true, more or less) that over a period of several months in 1956, the singer, songwriter, and guitarist João Gilberto sat in the comfortably echoing confines of his sister’s bathroom in Diamantina, a town in southeastern Brazil, singing quietly to himself and playing a repeating series of chord patterns on his acoustic guitar for hours at a time, day after day.

His mission: to create a new approach to performance— which would involve approximating the entire rhythm section of a samba group on one stringed instrument. By 1958 and 1959 Gilberto was enjoying hits with recordings such as "Chega de saudade" ("No More Blues") and the self- penned "Bim Bom." He also contributed songs to one of the landmarks of Brazilian culture during that period, the film “Orfeu Negro”, known in the United States as “Black Orpheus”. By this time the new music Gilberto had helped to create had acquired the name Bossa Nova, or "new wave." And, influenced by American jazz, it began to attract the attention of American jazz players in return.

Jazz guitarist Charlie Byrd visited Brazil on a U.S. State Department tour, and in 1962 Byrd and saxophonist Stan Getz released the album Jazz Samba, featuring some of Gilberto's compositions. With the Bossa Nova trend on the upswing that year, Gilberto moved to the United States himself; he remained in the States until 1980. In 1963, he and Getz released the album Getz/Gilberto, a jazz classic that offered mid-1960s jazz listeners one of the few alternatives to the experimental modernism that dominated the jazz stage at the time. The album's most famous track was the Jobim/Vinícius de Moraes composition"The Girl from Ipanema." With English lyrics added to the original Portuguese, the song appealed in novel ways to America's age-old fascination with tropical cultures.

The Bossa Nova craze endured for several more years in the United States, and its impact could still be heard two decades later in recordings such as Sade's "Smooth Operator." But Gilberto, tempe- ramentally unsuited to the stardom he achieved, shared little in the rewards other Brazilian musicians enjoyed; he canceled the remaining eight nights of a nine-night engagement at Chicago's London House, objecting to the club's noise levels. Still, Gilberto continued to record through the 1970s and 1980s, amassing a body of work that enjoyed consistently strong critical acclaim. Joined in the musical arena in the 1990s by his daughter, Bebel, Gilberto hardly slowed down as he entered his seventh decade.

His 1991 album João Gilberto featured the singer in an uncommon orchestral setting. But he returned in 2000 with João Voz e Violão, which featured only Gilberto's voice and guitar and was widely described as minimalist. In support of that album and the 40th anniversary of his first Bossa Nova recordings, Gilberto undertook a rare concert tour; it was enthusiastically received by audiences, eager for a glimpse of one of the twentieth century's true musical creators.

Awards: Won two Grammy awards, 1964, for Getz/Gilberto album and "The Girl from Ipanema” Source: http://biography.jrank.org/pages/3361/ Gilberto-Jo-o-1931-Brazilian-Vocalist- Guitarist.html


67 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 “He introduced a new way of singing” Johnny Alf is a true genius, unfortu- nately he is also highly underesti- mated.

He introduced Brazil to a new way of singing, playing, and composing several years before the term "Bossa Nova" was coined. Tom Jobim, Leny Andrade, Luís Eça, Carlos Lyra, and all those who came after had some Alf influ- ences. Always rejecting the label Bossa Nova, Alf focused on his artistic achieve- ments and let go of the music press, which continued ignoring him. His im- portance in Brazilian popular music as a fundamental precursor is still to be properly acknowledged, while he has been frequently recorded by international musicians such as Lalo Schifrin ("Rapaz de Bem"). In Brazil, his playing is logged on 46 albums, singles, compilations, and participations, but he has recorded only nine solo LPs or CDs in his career.

Alf began his piano studies at nine with a family friend, Geni Borges. Soon, he demonstrated an interest in North Ameri- can composers, such as George Gershwin and Cole Porter, and in unnoticed Brazilian revolutionaries such as Garoto, Custódio Mesquita, Lúcio Alves, and Gilberto Milfont, together with the famous Dick Farney. At 14, he formed a group with friends in Vila Isabel, playing on week- ends in Andaraí. Studying at the Pedro II school, he was invited by his colleagues to join the cultural meetings promoted by the Brazil-U.S. Institute Ibeu. They met weekly to listen to and discuss jazz music and to watch jazz movies, concerts, etc.

At that time, Alf was working as an accounting assistant and was already writing music. At 18, he enlisted; soon after, in 1949, Dick Farney returned from his stint in the U.S. As one of the first (and certainly the most successful) singers to incorporate jazz influences in his own personal expression, Farney already had a great number of fans, people who were aficionados of the new music directions. The jazz meetings, welcoming Farney, adopted the name of Sinatra-Farney Fan Club, revering another already influential name of the times. Amongst the fre- quenters, there were several names that would later be famous in music, such as Tom Jobim, Nora Ney, and Luís Bonfá, among others.

He'd been a longtime die- hard jazz fan and jazz journalist, José Domingos Raffaelli was also a longtime friend of Luís Paulo Ribeiro's, whose home he together with other friends, regularly frequented on Saturdays to listen to and discuss music. These encounters began in 1949 and in1950, they created another jazz fan club, the “Hot Club do Rio”. Raffaelli recounted, in a private interview, that at one of those musical meetings they learned of a boy who lived with the family that had enlist- ed, but was recovering from tuberculosis. They were listening to a Red Rodney 10" LP recorded for Imperial, where the sec- ond track was Chopin's "Minute" valse in a jazz rendition.

When the third track be- gan, one of the listeners commented, "Isto dá samba ( loosely, "it can be turned into samba rhythm"); Alf replied that that track couldn't, but the previous one could. Challenged, he went to the piano and composed his masterpiece samba "Seu Chopin, Desculpe," with lyr- ics and music completed in only 15 minutes. Some months later, Raffaelli met César de Alencar, then the most pop- ular radio host in Brazil, casually on the street. De Alencar told him that he was opening a new nightclub and was looking for a pianist who could sing both in Portu- guese and English and wasn't expensive.

Alf, who had been previously mentioned to de Alencar by Farney, was chosen and began to play at the Cantina do César, on Rua Rodolfo Dantas, Copacabana.

That was 1950, when Tom Jobim was an unknown, who after his day gig would go to the Cantina do César to learn those crazy harmonies, that new comping style (inspired by Nat "King" Cole's), and that new compositional style, even formally asking Alf to teach him. At the Cantina do César, Alf was approached by actress Mary Gonçalves, who had been elected Queen of Radio of 1952. She included on her debut album, Convite ao Romance, four of Alf's compositions, "Estamos Sós," "O que é Amar," "Podem Falar," and "Escuta." Alf then went to the Monte Car- lo nightclub, playing with violinist Fafá Lemos' group.

Alf's first recording (for Sinter) dates from this period (September 1952), with his "Falseta" accompanied by the great Garoto (violão), and bassist Vidal.

He also played at the nightclubs Manda- rim, Clube da Chave, and Drink. Already a renowned musician on the artistic scene, Alf began to play at the focal point of the burgeoning Bossa Nova, the Plaza night- club at Avenida Princesa Isabel. A meeting point for all people interested in jazz music, the Plaza was the cradle of Bossa, not just the Southside apartments generally associated within that, and Alf cemented his position there as a seminal influence in modern Brazilian music. In 1954, before the Bossa movement boomed in Rio, Alf felt segregated from the other musicians, so he moved to São Paulo.

His extraordinary musicality fright- ened the competition. He primarily went there to open the nightclub Baiuquinha on Major Sertório. After that, at Michel, he played with the then novices Paulinho Nogueira, Sabá, and Luís Chaves. In 1955, he recorded a 78 rpm album for Copaca- bana Brazil, which is considered by sever- al musicologists to be the first Bossa Nova album, three years before João Gilberto's Chega de Saudade. In 1961, he was invited by composer Chico Feitosa to perform at the historic Carnegie Hall Bossa Nova Festival, but Alf refused the invitation. That was the year he recorded his first LP, Rapaz de Bem, for RCA.

The next year, he spent a season in Rio at the Bottle's Bar, which also featured Sérgio Mendes, Luís Carlos Vinhas, Sílvia Telles, and the Tamba Trio.

Alf recorded the CD Eu e a Bossa for Rob Digital, regretting in later interviews the label's choice of title and subtitle (40 Years of Bossa Nova). That year, he was also the 20th artist awarded for lifelong achievement by Prêmio Shell. Through- out his life, he has kept a regular schedule as a night club performer. Read his full bio: https://www.allmusic.com/artist/johnny- alf-mn0000236366


69 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 “The Ultimate Musician” 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 con- cert 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 harmo- nies, 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 enor- mous impact upon him in the 1950s. But he also claimed that the French impres- sionist 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.

Born in the Tijuca neighborhood of Rio, Jobim originally was headed for a career as an architect. Yet by the time he turned 20, the lure of music was too powerful, and so he started playing piano in night- clubs and working in recording studios. He made his first record in 1954 backing singer Bill Farr as the leader of "Tom and His Band" (Tom was Jobim's lifelong nickname), and he first found fame in 1956 when he teamed up with poet Vinícius de Moraes to provide part of the score for a play called Orfeo do Carnaval (later made into the famous film Black Orpheus). In 1958, the then-unknown Brazilian singer João Gilberto recorded some of Jobim's songs, which had the effect of launching the phenomenon known as Bossa Nova.

Jobim's break- through outside Brazil occurred in 1962 when Stan Getz and Charlie Byrd scored a Surprise hit with his tune “Desafinado” (Out of tune) -- and later that year, he and several other Brazilian musicians were invited to participate in a Carnegie Hall showcase. Fueled by Jobim's songs, the bossa nova became an international fad, and jazz musicians jumped on the bandwagon, recording album after album of bossa novas until the trend ran out of commercial steam in the late '60s. Jobim himself preferred the recording studios to touring, making several lovely albums of his music as a pianist, guitarist, and singer for Verve, Warner Bros., Discovery, A&M, CTI, and MCA in the '60s and '70s, and Verve again in the last dec- ade of his life.

Early on, he started collab- orating with arranger/conductor Claus Ogerman, whose subtle, caressing, occa- sionally moody charts gave his records a haunting ambience. When Brazilian music was in its American eclipse after the '60s, a victim of overexposure and the burgeoning rock revolution, Jobim retreated more into the background, concentrating much energy upon film and TV scores in Brazil. But by 1985, as the idea of world music and a second Brazilian wave gathered steam, Jobim started touring again with a group containing his second wife Ana Lontra, his son Paulo, daughter Elizabeth, and various musician friends.

At the time of his final concerts in Brazil in September 1993 and at Carnegie Hall in April 1994 (both available on Verve), Jobim at last was receiving the universal recognition he deserved, and a plethora of tribute albums and concerts followed in the wake of his sudden death in New York City of heart failure. Jobim's reputa- tion as one of the great songwriters of the century is now secure, nowhere more so than on the jazz scene, where every other set seems to contain at least one Bossa Nova. Discography: https://www.allmusic.com/ artist/ant%C3%B4nio-carlos-jobim- mn0000781837/discography Biography: https://www.allmusic.com/ artist/antônio-carlos-jobim- mn0000781837/biography Read more: https://en.wikipedia.org/ wiki/Antônio_Carlos_Jobim

70 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 “Born in January 19, 1942 - June 7, 1989 ” Vinicius de Moraes

71 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 “The fundamental poet” Vinícius de Moraes was a fundamental figure in Brazilian music. As a poet, he wrote lyrics for a great number of songs that became all-time Bossa Nova and Samba classics. As a composer, he wrote some good music, and as an interpreter, he left several important albums.

From a musical family, he began very early to write poetry. At 14 he became friends with the brothers Paulo and Haroldo Tapajós. With Haroldo, he composed the fox song "Loura ou Morena," recorded by the two brothers in 1932 with success for Columbia.

In 1929 de Moraes enrolled in law school in Catete, Rio. Between 1932 and 1933 he wrote the lyrics for ten songs that were recorded by his partners: seven with Haroldo Tapajós, two with Paulo, and one with J. Medina (which was recorded by João Petra de Barros). In 1933 he finished his college studies and released his first book, O Caminho Para a Distância. In 1935 he had his second book (Forma e Exegese) awarded, and in the next year, he became a cinema censor for the Health and Education Cabinet. In 1936 he wrote Ariana, a Mulher and in 1938 headed to England, with an English government scholar- ship to study literature at Oxford University, and wrote Novos Poemas.

At that time he was married by proxy.

With the development of World War I, he returned to Rio. In 1941 he began to write film reviews and critiques. Two years later he joined Brazil's diplomatic service, Itamaraty, also releasing the book Cinco Elegias. In 1946 he was sent to Los Angeles on his first diplo- matic assignment as Vice Consul and released Poemas, Sonetos e Baladas. In 1950 he returned to Brazil due to his father's death. His first Samba (with Antônio Maria) dated 1953, "Quando Tu Passas por Mim," was the year he moved to France as the Brazilian Embassy Second Secretary.

His play “Orfeu da Conceição” won the IV São Paulo Centennial Contest in 1954.

In 1955 he wrote lyrics for some of Cláudio Santoro's chamber music pieces. The following year he staged “Orfeu da Conceição”, which was filmed by French writer Marcel Camus. He was then introduced to an unknown pianist, Antonio Carlos Jobim, who was commis- sioned with writing the music for the play. Jobim composed "Se Todos Fossem Iguais a Você," "Um Nome de Mulher," and several others, recorded by Odeon with Luiz Bonfá and others. Following a return to Paris in 1956 he took another diplomatic assignment in Montevideo, Uruguay, in 1957 (when he released Livro de Sonetos, followed by Novos Poemas II in 1959), where he stayed until 1960.

In 1958 Elizeth Cardoso released her album, marking the beginning of Bossa Nova. She included on it five compositions by the duo Tom & Vinícius: "Canção do Amor Demais," "Chega de Saudade," "Outra Vez," "Luciana," and "Estrada Branca." The album also featured João Gilberto and his "different beat" onto two tracks, "Chega de Saudade" and "Outra Vez." All their had great impetus after that record, and the songs written by Tom & Vinícius were sought by singers. In 1959, the movie “Orfeu do Carnaval”, based on the play “Orfeu da Conceição”, was awarded with the Golden Palm at the interna- tional movie festival in Cannes, France, and, in Hollywood, as the best foreign movie.

At that time, he and Jobim composed "Eu Sei Que Vou Te Amar" and "Amor em Paz." In 1960 he wrote O Amor dos Homens. In 1961 he composed with Carlos Lyra "Coisa Mais Linda," "Primeira Namorada," "Nada Como Ter Amor," and "Você e Eu." In 1962 he wrote (together with Pixinguinha) the soundtrack for the movie “Sol Sobre a Lama” (Alex Viany), which included "Lamento"; he also met Baden Powell and wrote with him "Samba da Bênção," "Só por Amor," "Canção de Amor e Paz," "Pra Que Chorar," "Deixa," "Samba em Prelúdio," "Apelo," "Berimbau," “Consolacao” and other great classics. After Powell's return from Bahia, where he dedicated himself to researching Bahian folklore, they composed the series known as Afro-Sambas: "Samba de Oxossi," "Canto de Xangô," "Canto de Ossanha," and others.

With Carlos Lyra he wrote "Marcha da Quarta-Feira de Cinzas" and "Minha Namorada," included in his play “Pobre Menina Rica”.

In August 1962, together with Jobim, João Gilberto, and Os Cariocas, he opened the show “Encontro” at the Au Bon Gourmet nightclub (Rio). That show represented the first performance of "Garota de Ipanema," "Insensatez," "Ela é Carioca," "Só Danço Samba," "Samba do Avião" (all with Jobim), and "Samba da Bênção." The same nightclub presented his play “Pobre Menina Rica”, which had music by Carlos Lyra ("Sabe Você," "Primavera," and "Pau-de-Arara"). The play launched the career of Nara Leão. He also released “Para Viver um Grande Amor. “ The following year he met Edu Lobo, with whom he would write "Arrastão" (which would win the FMPB I in 1965 with Elis Regina's interpretation), "Zambi," and "Canção do Amanhecer." Returning to Paris, he worked for UNESCO until 1964.

Meeting Francis Hime upon return- ing to Brazil, they composed "Saudade de Amar," "Sem Mais Adeus," and "Eu Te Amo, Amor." Together with Dorival Caymmi he presented a show at the Zum-Zum nightclub, which was a major success. Recorded live, it was released by Elenco. Quarteto em Cy, four singing sisters that he discovered, debuted on that show. At the FMPB I, Elizeth Cardoso’ interpretation of "Valsa do Amor Que Não Vem" (together with Baden Powell) won second place. He collaborated on the script of the movie “Garota de Ipanema” and had a second season of his show with Dorival Caymmi. Also in 1965 he released O Mergulha- dor.

In 1966, he participated (with Maria Bethânia and Gilberto Gil) in the show “Pois É” at the Teatro Opinião, which presented Gil's compositions. His "Samba da Bênção" (with Baden) was included on the soundtrack of Claude Lelouch's movie “Un Homme et une Femme”, winner of the Cannes movie festival.

He also wrote “Para uma Menina com uma Flor”. In 1968 he was summarily fired, after 26 years of work, from Itamaraty by the discre- tionary powers of military dictatorship. That year, he toured extensively throughout Europe (with Chico Buarque and Nara Leão) and Argentina (with Dorival Caymmi, Quarteto em Cy, Baden Powell, and Oscar Castro-Neves). In 1969 he performed at Punta del Este, Uruguay, with Maria Creuza and Dori Caymmi. Still in 1969 he also partnered with Toquinho (de Moraes' most frequent partner and best friend, they would record 20 LPs together), with whom, along with Marília Medalha, he opened a show in 1970 at the Teatro Castro Alves (Salvador).

With them, he performed at the La Fusa nightclub (Buenos Aires, Argentina); in January 1971 Toquinho and de Moraes would again perform there, this time with Maria Bethânia. Still in 1970, taking a hit by Garoto written 20 years before, he wrote (together with Chico Buarque) the lyrics for "Gente Humilde." His book Arca de Noé would yield, ten years later, several TV stagings with music by Toquinho, which was released on two LPs: A Arca de Noé (Ariola, 1980) and A Arca de Noé, Vol. 2 (Ariola, 1981). In 1971 an LP with his compositions (with Toquinho) "Tarde em Itapoã" and "Como Dizia o Poeta" was released by RGE with great success.

This brought a great number of invi- tations to tour in Brazil and abroad. Always successful the duo came out with "Maria-vai- Com-as-Outras," "Testamento" (1971), "Regra Três" (1972), and others. With Toquinho and Clara Nunes, he presented the 1973 show “O Poeta, a Moça e o Violão” at the Teatro Castro Alves, Bahia.

Read more: https://www.allmusic.com/artist/ vinícius-de-moraes-mn0000219243/ biography

72 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 “Born: August 27, 1934 - December 17, 1966” Silvinha Telles

73 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 “One of the most important Bossa Nova singers” She was born in 1934 and she had the ambition to be a ballet dancer. She studied with Madeleine Rosay at the Teatro Municipal's ballet corp in Rio de Janeiro, but she would also practice singing and playing the piano.

Telles preceded the advent of Bossa Nova, and began covering songs by such influential musi- cians like "Corcovado" (Tom Jobim), "Se é Tarde me Perdoa" (Carlos Lyra/Ronaldo Bôscoli), "Amor em Paz" (Tom Jobim/Vinícius de Moraes), "Insensatez" (Tom Jobim/Vinícius de Moraes), "Você" (Roberto Menescal/Ronaldo Bôscoli), "Balanço Zona Sul" (Tito Madi), "Preciso Apren- der a Ser Só" (Marcos Valle/Paulo Sérgio Valle) and "Eu Preciso de Você" (Tom Jobim/Aloysio de Oliveira), among others. Mother of vocalist Cláudia Telles, Silvinha Telles debuted as a professional in 1955 in the revue “Gente de Bem e Champanhota”, staged at the Follies Theater (Rio de Janeiro), with the song "Amendoim Torradi- nho" (Augusto Garcez/Ciro de Souza).

The song was recorded by her the same year as "Desejo" (Garoto/José Vasconcelos/Luís Cláudio). Her next 78 rpm is considered one of the Bossa Nova forerunners, with "Menina" (Carlos Lyra) and "Foi a Noite" (Tom Jobim/Newton Mendonça). With her husband Candinho she hosted the program “Música e Romance” (at TV Rio), with guests like Johnny Alf, Tom Jobim, Billy Blanco, Dolores Durán and Garoto. In 1957 she had her first LP released, Carícia, with "Chove Lá Fora" (Tito Madi), "Se Todos Fossem Iguais a Você" (Tom Jobim/Vinícius de Moraes) and "Canção da Volta" (Ismael Neto/Antônio Maria). In 1958 she performed at the Grupo Universitário Hebraico (Rio), one of the important shows preceding the Bossa Nova boom, with Carlos Lyra and Roberto Menescal, among others.

Sílvia (1959) had "Estrada do Sol" (Tom Jobim/Dolores Durán) and "Mágoa" (Tito Madi). Amor de Gente Moça (released the same year, the album that brought her the definitive recognition) had several songs by Tom Jobim: "Só em Teus Braços", "A Felicidade" (with Vinícius de Moraes), "Sem Você" (with Vinícius de Moraes) and "O Que Tinha de Ser" (with Vinícius de Moraes). Also in 1959 she participated in the historic Festival de Samba Session I, at the State University of Rio de Janeiro Architecture School (Faculdade Nacional de Arquitetura).She was killed in a car accident at the age of 32.

Source: https://en.wikipedia.org/wiki/Sylvia_Telles


75 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 “The Pre-Bossa Music Master” João Donato de Oliveira Neto is a Brazilian Jazz and Bossa Nova pianist, born in Rio Branco, the capital of the state of Acre, Brazil, on August 17, 1934. Until it officially appeared, with João Gilberto and Tom Jobim, Bossa Nova had some musical predecessors.

The composer, pianist and arranger João Donato whose way of playing influenced the Bossa Nova. In 1953, five years before the birth of Bossa Nova, Donato used syncopations very similar to the beat of João Gilberto's guitar. João’s first instrument was an accordion, on which he composed his first piece, the waltz “Nini”, at the age of eight. Before his 12th birthday, his father gave him 24 and 120-bass accordions. In 1945, Donato senior was transferred and the family had to leave Rio Branco heading to Rio de Janeiro. The musical circuit consisted of parties at the Tijuca and neighboring area school.

He tried his luck on TV on Ary Barroso’s talent search program. Intransigent, Ary emphatically refused to hear him, with the allegation that he “did not like child prodigies”. Luckily, there were more attentive ears.

He became professional in 1949, at the age of 15, Donato’s resume already showed the mythological jam-sessions held at singer Dick Farney’s place and at the Sinatra- Farney Fan Club, where he was a member. Johnny Alf, Nora Ney, Dóris Monteiro, Paulo Moura and even Jô Soares, on bongos, were among the components of these vitaminized jams. He first worked with Altamiro Carrilho, and went on to perform with other musicians including Tom Jobim, Astrud Gilberto, as well as a host of others. On his first recording, joining flutist Altamiro Carrilho’s band, Donato plays accordion on the two tracks of the 78 RPM: Ernesto Nazareth’s “Brejeiro”, and “Feliz Aniversá rio”, by Altamiro himself.

Soon after he migrates to violinist Fafá Lemos’ band, as a substitute for Chiquinho do Accordion.

As a piano player, from 1953, Donato begins to lead his own instrumental groups, – Donato e seu Conjunto, Donato Trio, the group Os Namorados – with whom he releases on 78 RPM instrumental versions of American and Brazilian music standards (such as “Tenderly”, a Nat King Cole hit) and (“Se acaso você chegasse”, by Lupicinio Rodrigues, a Samba composer from the state of Rio Grande do Sul). Three years later, Odeon assigns a novice arranger to carry out the musical direction of “Chá Dançante” (Tea Dance) in 1956, Donato and his band’s first LP album. A certain Antonio Carlos Jobim – who later on would have an airport named after him – would be the director of this pilot son’s album.

The reper- toire chosen by Jobim was to really take off at any debutants’ ball: “No rancho fundo” (Lamartine Babo – Ary Barroso), “Carinhoso” (Pixinguinha – João de Barro), “Baião” (Luiz Gonzaga – Humberto), “Peguei um Ita no norte” (Dorival Caymmi). Afterwards, Donato spent two years in São Paulo.

Back in Rio, the Bossa Nova had broken out. João Gilberto himself said here and there that he had picked up his revolutionary guitar beat while watching Donato play the piano. That same year, 1958, he records “Minha saudade” and “Mambinho”, written in partnership between the two Joãos, Donato and Gilberto. Invited by Nanai (a former member of the band Os Namorados) he leaves Brazil for a six-week contract at a casino in Lake Tahoe (Nevada). Donato contextualised the influence of Jazz, inte- grated Caribbean music into the orchestras of Mongo Santamaría, Johnny Martinez, Cal Tjader and Tito Puente.

He even went on tour with João Gilberto around Europe. He return to Brazil in 1962, just in time to com- pose two classic, ever fashionable set pieces of the Brazilian instrumental music – “Muito à vontade” (1962) and “A Bossa muito moderna de João Donato” (1963), both with Polydor, reissued in the early 2000s on CD by Dubas. Donato at the piano, Milton Banana on drums, Tião Neto on bass and Amaury Rodrigues, percussion. In 1962 vibraphonist Dave Pike recorded an album “Bossa Nova Carnival” including all Donato’s compositions.

“A Bossa muito moderna” introduces some original instrumental themes which, many years later (with lyrics added), would be mandatory in every Brazilian pop music songbook. Among them “Índio perdido”, that would become “Lugar comum”, when Gilberto Gil wrote its lyrics. Gil is also a partner in the lyrics that would make “Villa Grazia” become “Bananeira”. Then we have “Silk Stop”,the original theme upon which Martinho da Vila would write “Gaiolas Abertas”. The influence of Cuban music is evident in “Bluchanga”, from the time when Donato played with Mongo Santamaría. Afterwards Donato packs his bags and returns to the USA.

This time, the contract would last for almost a decade. He worked with Nelson Riddle, Herbie Mann, Chet Baker, Cal Tjader, Bud Shank, Armando Peraza, etc. Alongside João Gilberto, Jobim, Moacir Santos, Eumir Deodato, Sérgio Mendes and Astrud Gilberto, Donato was a key player for the team that would really make Brazil internationally recognized for its music. The album “A Bad Donato” (1970), recorded for Blue Thumb, a California- based label, and relaunched on CD by Du- bas. Recorded in Los Angeles, “A Bad Dona- to” condenses funk, psychedelia, soul mu- sic, Afro-Cuban sounds and jazz fusion.

A groovy, poisoned-sound dancing Donato, – highly wired with the Californian dream’s experimentalism - considered as one of the 100 best albums of all times by the Rolling Stone magazine.

Back again to Rio in 1972, Donato visited the composer Marcos Valle. There he met singer Agostinho dos Santos, who suggested to Donato that he should work on lyrics for his songs. This opened the floodgates for Donato’s irresistible themes to receive the status of popular song. Valle took the chance of inviting him to record a new album in Brazil, with its repertoire taken from this new collection on songs. João was back, absolutely reinvented. “Quem é quem”, released by EMI in 1973 includes the tracks “Terremoto”, “Chorou, chorou” (both with lyrics by Paulo César Pinheiro”), “Até quem sabe” (with Lysias), “Cadê Jodel?” (with Marcos Valle).

Even Dorival Caymmi contributes an unpublished, “Cala a boca, Menino”. In a letter to João Gilberto, on September 13, 1973, Donato cannot hide his enthusiasm: “It’s my best recorded work to date, taking into account the time it took, which explains the maximum care given to everything on it. And the outcome is an album that I find simply adorable”. It was also considered as one of the 100 best albums in all times by the Rolling Stone magazine. In 2008 “Quem é Quem” was the subject of a TV program entirely dedicated to him by Canal Brasil, presented by Charles Gavin; and of a book written by producer and musician Kassin.

Click here to read his full bio


77 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 “A completely different lyrical style” C arlos Eduardo Lyra Barbosa, Brazil, singer and composer of numerous Bossa Nova and Bra- zilian Popular Music classics. He and Antonio Carlos Jobim, were the first two music composers, together with lyricists Vinicius de Moraes and Ronaldo Boscoli, to be recorded by João Gilberto on his first LP entitled “Chega de Saudade” (1959), which was called the first generation of Bossa Nova.

His first recorded song was “Menina” (1954), issued as a single by Sylvia Telles in 1955, with "Foi a Noite" by Antonio Carlos Jobim on the other side of the record. The writers first met because of this single, when Jobim called Lyra "the other side of the record". At that time, both were writing their own music & lyrics creating a colloquial and completely new style. They wrote about their own experi- ences and feelings.

A completely different lyrical style from most songs written that time. His first compositions (music & lyrics), from 1954 to 1956 included: "Quando Chegares"; "Menina";" Barquinho de Papel"; "Ciúme"; "Criticando" and "Maria Ninguém". In 1957 he started to compose together with the lyricist Ronaldo Bôscoli, songs such as "Lobo Bobo", "Saudade Fez um Samba" and" Se é Tarde me Perdoa." In 1958 wrote "Aruanda" and "Quem Quiser Encontrar o Amor," with Geraldo Vandré. In 1960 he started to compose together with Vinicius de Moraes, songs like "Você e Eu," "Coisa Mais Linda," “Sabe Você?,", Samba do Carioca," "Maria Moita" and many others.

Together they wrote a musical play, in 1962, called "Pobre Menina Rica" (“Poor Little Rich Girl”). In 1961 he was one of the five founders of CPC (Center of Popular Cul- ture) where he started to write songs for cinema and theater. He also wrote the song "Influência do Jazz,” (Jazz Influence” one of the songs he sang at the Bossa Nova Concert at Carnegie Hall, in 1962. Lyra's most famous compositions include "Coisa Mais Linda", "Você e Eu", "Maria Ninguém" (once claimed by Jacqueline Kennedy to be her favorite song), and "Influência do Jazz". One of the most important artists of the Bossa Nova movement, Carlos Lyra was also an intel- lectual behind the movement, forging new directions like the protest song.

Lyra wrote some of the best moments of the Bossa Nova, on his own, or together with illustrious partners like Vinícius de Moraes. With Roberto Menescal, Carlos Lyra created a guitar academy that be- came a meeting place for future artists like Edu Lobo, Marcos Valle, Nara Leão, and Ronaldo Bôscoli.

In 1954, Geraldo Vandré interpreted his song "Menina" in a festival; it was recorded the following year by Sílvia Telles. Three years later, Os Cariocas recorded his "Criticando." In 1959, João Gilberto included three of Lyra's composi- tions: "Maria Ninguém," "Lobo Bobo," and "Saudade Fez um Samba" (the latter two written with Bôscoli) in his Chega de Saudade (a landmark for the Bossa Nova genre). Lyra also recorded his first solo album that year, Carlos Lyra - Bossa Nova. Interested in a more active political mili- tancy, Lyra wrote soundtracks for plays like Vianinha's “A Mais-Valia Vai Acabar, Seu Edgar.” That same year, Lyra met Vinícius de Moraes, with whom he would write Bossa Nova classics like "Você e Eu," "Minha Namorada," "Marcha da Quarta- Feira de Cinzas," and "Coisa Mais Linda." His social concerns took him to the CPC (Popular Center of Culture), where he would brew a protest song derived from the Bossa Nova, seen by him and other composers like Edu Lobo, Geraldo Vandré, and Chico Buarque as reactionary.

The immediate result of his cultural activity was a partnership with Zé Kéti in "Samba da Legalidade," influencing the formation of the historic “Opinião show”, with Nara Leão, Maria Bethânia, Zé Kéti, and João do Vale and a highly politicized context.

In 1962, Lyra participated in the Bossa Nova Festival at Carnegie Hall (New York). The following year, Lyra wrote the sound- track of the film “Bonitinha Mas Ordinaria’ over lyrics by Nelson Rodrigues. In 1964, he appeared in the Newport Festival with Stan Getz, touring with him the following year through U.S, Canada, Europe, and Japan. In 1965, he also recorded with Paul Winter. From that year on, he spent several years in Mexico, where he worked intensively as a composer of soundtracks for short sub- jects and plays. In 1983, he started his partnership with Paulo César Pinheiro. Four years later, he performed in Spain with Caetano Veloso, Toquinho, and Nana Caymmi.

In 1988, he played in Japan with Leila Pinheiro and the Quarteto em Cy. In 1992, Lyra toured Spain and Portugal and performed at the Pescara Jazz Festival together with Gerry Mulligan and Gary Burton. In 1997, Lyra opened the show “40 Years of Bossa Nova” in Tokyo/Japan, together with Roberto Menescal, Leila Pinheiro, and Astrud Gilberto. Sources: https://www.allmusic.com/ artist/carlos-lyra-mn0000171784/ https://en.wikipedia.org/wiki/Carlos_Lyra


79 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 “The Muse of Bossa Nova” Nara Leão, singer and guitarist, originally from Vitória, Espírito Santo, is considered to be the Muse of Bossa Nova, as she is affec- tionately known for opening her apartment for meetings that led to the Bossa Nova Movement. She didn't restrict herself as only a Bossa Nova singer, though, and was one of the first artists to engage in the movement later known as "Canção de Protesto" (Protest Song), an artistic move- ment which denounced military dictator- ship in Brazil.

She launched the careers of such composers/interpreters as Chico Buarque, Zé Keti, Martinho da Vila, Edu Lo- bo, Paulinho da Viola, and Fagner. An inter- national performer in spite of her curt, uneducated voice, she left an expressive discography even though death premature- ly caught her by surprise.

In 1954, she took her first guitar lessons with Solon Ayala and Patrício Teixeira, and then with Roberto Menescal and Carlos Lyra. As an amateur, she participated in the first university performances when Bossa Nova was coming together as an organized movement. She performed with such names as João Gilberto, Luiz Eça, Ronaldo Bôscoli (with whom she would have a love affair and later become his fiancée), Carlos Lyra, and others. At that time, she was a reporter for Rio's newspaper “Última Hora”. Her complacent parent’s ample apartment in Rio's south side (zona sul), Copacabana, Posto 4, became a meeting place for musi- cians, which led many to erroneously estab- lish it as the Bossa Nova cradle (actually, the cradle was, to some extent, the Cantina do César, but even more appropriately, the Plaza nightclub around 1952).

In 1963, she debuted as a professional, working in the musical comedy “Pobre Menina Rica”, by Vinícius de Moraes and Carlos Lyra. That year she also had her debut in the recording studios, singing "Naná" (Moacir Santos), which was included in the Ganga Zumba movie soundtrack, and Rei dos Palmares (Cacá Diegues). She recorded two tracks on Carlos Lyra's LP “Depois do Carna- val” (Philips): marcha-rancho style "Marcha da Quarta-Feira de Cinzas" (Carlos Lyra/ Vinícius de Moraes) and the samba-jazz "Promessas de Você" (Carlos Lyra/Nelson Lins e Barros). Still in 1963, she toured Brazil, Japan, and France with Sérgio Mendes.

When they toured the Northeast, Leão was introduced by Roberto Santana to the so-called Vila Velha Gang, the baianos Caetano Veloso, Gilberto Gil, Gal Costa, and Maria Bethânia. Her first LP (Nara), recorded by Elenco, launched sambista do morro (sambista from the hill), Zé Keti, into the middle-class echelon with the great success of his song "Diz que Fui por Aí" (with H. Rocha). She also reintroduced to that same circle the older sambista do morro, Cartola ("O Sol Nascerá," together with Elton Medeiros). In addition to these two songs, which became all-time hits, two other tracks recorded on that album had the same success: "Consolação" (Baden Powell/ Vinícius de Moraes) and "O Morro" (Carlos Lyra/Gianfrancesco Guarnieri).

On that al- bum, she revealed her social concerns (still a bit naïve), choosing a non-bossa reper- toire. These concerns were even more evident in the following phase of her career when a coup took power over Brazil and installed a military dictatorship; this event provoked her to actively denounce it. Her second album, Opinião de Nara (Leão's opinion, Philips, 1964), brought Opinião" "(Zé Keti). In December 1964, she had great success with the show “Opinião(Gian- francesco Guarnieri/Augusto Boal) at the Teatro Opinião (Rio). The show brought together Leão, a middle- class young girl, Zé Keti, representing the morro people, and João do Vale, from the poor region of the Northeast.

The show was such a long-running success that it stole middle-class audiences making the important samba stronghold, Zicartola owned by Cartola himself, profitable; it closed its doors soon afterwards. It also killed Bossa Nova in Brazil.

Leão delivered passionate speeches against Bossa Nova at the time, calling it an "alienating" movement. At the same time, the instrumental background of the show “Opinião” was pure Bossa, as can be heard on a CD reissued in 1994, indicating that the schism, at that time, was more ideological than musical. In 1965, she presented Chico Buarque with his songs "Pedro Pedrei- ro" (strong social theme) and "Olê, Olá." Also that year, she participated in the Teatro Opinião’s show “Liberdade, Liberdade” (Freedom, Freedom), by Flávio Rangel/Millôr Fernandes. She also appeared on Elis Regina/Jair Rodrigues' regular TV show “O Fino da Bossa”, which eventually also had appearances by Chico Buarque, Gilberto Gil, Caetano Veloso, Edu Lobo, Tom Jobim, Vinícius de Moraes, and Ivan Lins.

In 1966, she recorded her album Manhã de Liberdade (Philips).

Defending Chico Buarque's "A Banda," with him at Record TV's FMPB II (1966, São Pau- lo), she won first place (together with "Disparada," by Geraldo Vandré and Théo de Barros). Leão recorded "A Banda," to- gether with the first song composed by the duo Gilberto Gil/Capinam, "Ladainha." The following year, she sang, together with its author, "A Estrada e o Violeiro" (Sidney Mil- ler), at the FMPB III. The song was awarded for Best Lyrics. Between 1966 and 1967, she and Chico Buarque had a regular weekly TV show (“Pra Ver a Banda Passar”, TV Record). In 1966, she was almost framed by the War department for violating the National Secu- rity Law due to a direct critique against the military in an interview with the Carioca newspaper “Diário de Notícias” ("our mili- tary forces are of no avail").

In 1967, she recorded the LP Canto Livre de Nara. In 1968, she joined the Tropicalista movement, joining Caetano Veloso, Gilberto Gil, Rogério Duprat, Tom Zé, Capinam, Os Mutantes, Torquato Neto, and Gal Costa on the LP Tropicália ou Panis et Cirsensis. That same year, she recorded her LP Nara Leão, where she sang Ernesto Nazareth's "Odeon" with lyrics that Vinícius de Moraes had writ- ten especially for her. The LP, released at the Carioca nightclub Le Bilboquet, brought two of Veloso's compositions, ("Mamãe Coragem" and "Deus vos Salve Esta Casa Santa", both with Torquato Neto) and ar- rangements by Rogério Duprat, which helped establish a connection with Tropi- calia.

She had decided to stay out of televi- sion for an entire year, because of a disa- greement with the artistic shortsightedness of the producers. The following year, she moved to France and recorded another LP. In 1971, she recorded Dez Anos Depois (Polydor) in Paris and then returned to Bra- zil.

The following year, she appeared in the film “Quando o Carnaval Chegar” (by Cacá Diegues, her husband), together with Chico Buarque and Maria Bethânia. In subsequent years, she began studying psychology in college, putting music aside. In that period, she made only sporadic appearances on shows and albums for other artists, such as Fagner. In the late '70s, she released her LP Meus Amigos são um Barato (Philips, 1977), with appearances by Tom Jobim, Carlos Lyra, Edu Lobo, Chico Buarque, Caetano Veloso, Gilberto Gil, Roberto Menescal, and others. Upon learning she had cancer, she returned with full impetus to her career, recording another 11 LPs by 1988.

In 1997, she was the theme of the first play by re- nowned moviemaker Júlio Brassane, “Vida- Névoa-Nada”.

Source:https://www.allmusic.com/artist/ nara-le%C3%A3o-mn0000371530


81 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 “O barquinho vai e a tardinha cai...” Roberto is a Brazilian composer, producer,guitarist/vocalist, im- portant to the founding of Bossa Nova. In many of his songs there are references to things related to the sea, including his best-known composition "O Barquinho" ("Little Boat").

He is also known for work with Carlos Lyra, Nara Leão, Wanda Sá, Ale Vanzella, and many others. Menescal has performed in a variety of Latin music mediums, including Brazilian Popular Music ( MPB), Bossa Nova and Samba. He was nominated for a Latin Grammy for his work with his son's bossa group Bossacucanova in 2002 and will receive the "2013 Latin Recording Academy Special Awards" in Las Vegas in November 2013.

The composer of Bossa Nova classics like "O Barquinho," "Ah, Se Eu Pudesse," "Errinho à Tôa," "Nós e o Mar," "Rio," "Você," and "Vagamente," Roberto Menescal started his profes- sional career in 1957 as Sylvia Telles' sideman (on guitar) in a tour around Brazil. In 1958, he opened a guitar school in Copacabana (Rio) with Carlos Lyra, having as his pupils Nara Leão and his sister Danuza Leão. In the same year, he formed, with Luís Carlos Vinhas, João Mário, Henrique, and Bebeto, the Roberto Menescal Group, one of the first instrumental groups of Bossa Nova. The group accompanied Dorival Caymmi, Vinícius de Moraes, Billy Blanco, Maysa, and Telles.

Also in 1958, he participated, with Telles, Carlos Lyra, and other artists, in a show at the Clube Hebraica (Rio), when the words "Bossa Nova" were used (inadvertently, by the club's secretary) for the first time to adver- tise the event. Having taken part with his group in the recording of Garotos da Bossa Nova in 1959, he participated in the I Festival de Samba Session at the Teatro de Arena theater of the School of Architecture at the State University of Rio de Janeiro. Such in- formal venues were important vehi- cles for Bossa Nova among the middle -class university people who were more inclined to absorb and dissemi- nate it, and Menescal was instrumen- tal for the promotion of such concerts in 1959, 1960, and 1961.

In 1959, he had his first recorded composition, "Jura de Pombo" (with Ronaldo Bôscoli), by Alaíde Costa. The composition "O Barquinho" (with Ronaldo Bôscoli), a Bossa Nova classic , was simultaneously recorded by Maysa , Perry Ribeiro, and Paulinho Nogueira in 1960. In 1962, he accompanied Maysa in her Argentinean tour and, with Eumir Deodato's group, he per- formed in Marlene's program on TV Rio, having been hired for two years with his own group to back up artists on that TV station.

In November 1962, he participated in the historic Bossa Nova Festival at Carnegie Hall in New York, NY, with Tom Jobim, Carlos Lyra, and others, interpreting "O Barquinho" in one of his few performances as a singer.

From 1964 to 1968, he worked as an arranger and, invited by André Midani, he started to work as an independent producer and arranger at PolyGram. In 1968, he accompanied Elis Regina in her performance at the MIDEM (Inter- National Phonographic Market and Music Publishers) in Cannes, France, and in her subsequent European tour, having been Regina's sideman until 1970, when he became PolyGram's A&R. Already established as a major producer (having worked with Caetano Veloso, Gilberto Gil, Jorge Ben Jor, Gal Costa, Maria Bethânia, and many others), instrumentalist (as a session man he worked with Lúcio Alves, Maysa, Claudette Soares, Nara Leão, Jair Rodrigues, and Elis Regina), he had several compositions of his included in soundtracks of broadly popular TV soap operas and also wrote music for the cinema (Bye Bye Brasil, Joana Francesa, both by Cacá Diegues, and Vai Trabalhar Vagabun- do, by Hugo Carvana).

In 1985, having accompanied Nara Leão in performances in Brazil and abroad, he launched with her the LP Um Cantinho, Um Violão/Nara Leão e Roberto Menescal. In the next year, he abandoned his career in A&R and dedicated himself to his solo career. He has also been participating in jazz projects, among others with Joe Henderson. In 2001, he participated with Wanda Sá, Danilo Caymmi, and Marcos Valle in the Fare Festival (Pavia, Italy). Menescal also owns the label Albatroz, which released albums by Danilo Caymmi, Emílio Santiago, and others.

Source: https://everipedia.org/wiki/ Roberto_Menescal/

82 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 “Born in August 6, 1937 -September 26, 2000” Baden Powel

83 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 “The Guitar Master” Baden Powell is a Brazilian musician with a solid international reputation. A gifted instru- mentalist and composer, he bridges the gap between classical artistry and popular warmth and was a key figure in the Bossa Nova movement. Born in the Varre Sai in the state of Rio de Janeiro.

When he was only four months his family moved to the city of Rio de Janeiro. His father, the violinist, Lino de Aquino, promoted regular get-togethers (rodas) of chorões at his home, where many of Rio’s famous names used to play, such as Pixinguinha, his brother China, the sambista Donga, and so many others. At eight, his fa- ther took him to Rádio Nacional where Pow- ell met Meira (Jaime Florence), a famous violinist and at the time a member of Bene- dicto Lacerda's regional. Powell would study guitar with him for five years.

Through Meira, a broad-minded musician, he discovered classics such as Segovia and Tarrega, along with Brazilian masters such as Garoto and Dilermando Reis. At nine, he pre- sented himself at Renato Murce's show “Papel Carbono” on Rádio Nacional, winning first place as a guitar soloist. At 13, he used to run from school, earning his first cachets at the neighborhood parties. After finishing high school, he joined the cast of Rádio Nacional as an accompanist. At that time, he traveled through Brazil with the radio's singers. In 1955, he joined Ed Lincoln's trio, playing jazz at the Plaza nightclub.

The place was a focal point for musicians, journalists, and aficiona- dos interested in jazz. It should be regarded as the second place where Bossa Nova was being generated (the first being Cantina do César, after Johnny Alf's first appearances), contrary to the common notion of Bossa be- ing born at Zona Sul (South side's) apart- ments.

At that time, Powell began to compose "Deve Ser Amor," "Encontro Com a Saudade," "Não é Bem Assim," and his first big hit, 1956's "Samba Triste," with lyrics by Billy Blanco which would be recorded by Lúcio Alves in 1960. In 1962, he met his future partner, Vinícius de Moraes, a composer, poet, singer, and diplomat. Their first song was "Canção de Ninar Meu Bem," a great success from the beginning. Following that, they came up with "Samba em Prelúdio" (recorded in 1962 by Geraldo Vandré / Ana Lúcia), "Consolação" (recorded by Nara Leão), "Samba da Bênção," "Tem Dó," "Só por Amor," "Bom Dia, Amigo," "Labareda," and "Samba do Astronauta" (recorded by Powell in 1964).

At this point, Powell was already a renowned musician and composer, with good connec- tions on the artistic scene and wide exposure in the media. That year, he accompanied Sílvia Telles on her famous show at the Jirau nightclub. In 1963, he recorded his first LP, Um Violão na Madrugada (Philips). Later that year, he traveled to Paris where he presented himself at the Olympia theater with great success, using a repertoire of classical music and his own compositions. He also played regularly at the Bilboquet nightclub and composed the soundtrack to the movie Le Grabuje””. In 1964, he returned to Brazil and recorded the LP À Vontade, which inclu- ded a composition by Tom Jobim and Vinícius, "Samba do Avião." He also wrote, that year, the samba "Berimbau" with lyrics by Vinícius.

More of the duo's compositions that year were "Além do Amor," "Valsa sem Nome," "Deve ser Amor," "Canção do Amor Ausente," "Consolação," "Deixa," "Amei Tanto," "Tempo Feliz," and "Samba da Bênção." The latter was included in Claude Lelouch's movie “Un Homme et une Femme”, under the title "Samba Saravah." Traveling to Bahia, Powell stayed there for six months and researched the Afro traditions developed on Brazilian soil, especially the musical tradition emanating from the ancient sorcery rituals of candomblé and umbanda. The next phase of his compositional associa- tion with Vinícius would be called by Powel- las the Afro-sambas, mirroring the findings of that period: 1965's "Tristeza e Solidão" and "Bocoché" and 1966's "Canto do Xangô" and "Canto de Ossanha," the latter recorded by Elis Regina in 1966 with great success.

Taking Bahian folklore, Powell added his Carioca touch, bringing the Afro tradition a more Brazilian feeling. In 1999, Powell, recently converted, regretted and deplored the Afro- samba phase as "devil's music" in a contro- verted and disappointing interview.

In 1965, fundamental singer Elizeth Cardoso presented Powell/Vinícius' "Valsa do Amor que Não Vem" at the first Festival of Brazilian Popular Music (TV Excelsior), São Paulo, win- ning second place. The following year, Aluísio de Oliveira produced another album by Powell, this time for his own landmark label Elenco, that deeply engaged the best musi- cians, leaving the commercial side in the background; unfortunately, it caused the excellent label's demise some years later. Taking advantage of the Brazilian tour of Caterina Valente, who was being accompa- nied by drummer Jimmy Pratt, de Oliveira took him and recorded Baden Powell Swings With Jimmy Pratt.

Also that year, TV Excelsior promoted the National Festival of Popular Music, where novice Milton Nascimento won fourth place with "Cidade Vazia" (Powell/Lula Freire) and Powell with Vinícius recorded their Afro-sambas "Canto de Xangô," "Canto de Iemanjá," and "Canto de Ossanha" for Forma, along with "Berimbau" and "Samba da Bênção." He also spent some time with Elis Regina at Rio's nightclub Zum-Zum. The LPs O Mundo Musical de Baden Powell (Barclay/RGE), recorded in France; Baden Powell ao Vivo no Teatro Santa Rosa (Elenco); and Tempo Feliz(Forma/Philips) were all rec- orded in 1966. During that period, he played in the U.S.

with Stan Getz.

In 1967, he recorded in Paris, France, the al- bum “O Mundo Musical” No. 2, accompanied by the Paris Symphonic Orchestra. That year, his “O Mundo Musical” de Baden Powell was awarded the Golden Record in Paris and he performed at the Jazz Festival in Berlin, Germany, with American jazz guitarists Jim Hall and Barney Kessel. In 1968, a novice Paulo César Pinheiro composed with Powell the samba "Lapinha," which was presented by Elis Regina at the TV Record's first Samba Biennial, winning first place. The duo would also compose, among others, "Cancioneiro," "Samba do Perdão," "Meu Réquiem," "É de Lei," "Refém da Solidão," "Aviso aos Nave- gantes," and "Carta de Poeta." Also from 1968 is the LP Baden Powell (Elenco) with the famous "Manhã de Carnaval" or "Carnival," by Luís Bonfá and Antônio Maria, and the show “O Mundo Musical de Baden Powell”.

In 1969, he recorded Vinte e Sete Horas de Estúdio (Elenco). The following year in Paris, he recorded for Barklay the three-album box set Baden Powell Quartet and the LP Baden Powell, which had Pixinguinha's songs. For Elenco, he recorded the LP Estudos. In 1972, he recorded for Philips the LP É de Lei. Solitude on Guitar was recorded the following year in Germany and in 1974, he recorded in Paris the live LP Baden Powell (Barklay/RGE), and in 1975 recorded the LP Baden Powell Trio & Ópera de Frankfurt. He then moved to Baden-Baden (Germany), staying there for four years. In 1994, already living in Brazil again, he released the record Baden Powell de Rio à Paris and in that same year, he performed together with his sons, Louis Marcel (guitar) and Phillipe (piano), at the Cecília Meireles Hall in Rio, with the concert recorded and released on a CD, titled Baden Powell & Filhos, through CID.

In 1995, his concert at the Montreux Festival was recorded on CD under the title Baden Powell Live in Montreux. Also that year, he was awarded with the Prêmio Shell for his complete works. In 1996, he toured in France with Brazilian accordionist Sivuca and recorded the CD Baden Powell Live at the Rio Jazz Club. After spending several weeks in the hospital, Baden Powell died on September 26, 2000, at the age of 63.

Source: Source: https://www.allmusic.com/ artist/baden-powell-mn0000765585/ biography


85 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 “Mais Que Nada” Born the son of a physician in Niteroi, Brazil, Mendes began studying music at the local conservato- ry while still a boy, with the intention of becoming a classical pianist.

He was living in Rio de Janeiro as the Bossa Nova craze hit in the mid- to late '50s, and at age 15, he abandoned classical music in favor of Bossa Nova. Mendes began spending time with other young Brazilian musicians in Rio de Janeiro, absorbing the musical ferment around him in the company of such figures as Antonio Carlos Jobim and João Gilber- to. Their company was augmented by the periodic visits of American jazz gi- ants such as Stan Getz, Dizzy Gillespie, Charlie Byrd, Paul Winter, Roy Eldridge, and Herbie Mann. Mendes became the leader of his own group, the Sexteto Bossa Rio, and was heard with them by many visiting musicians.

He made his first recording, Dance Moderno, in 1961 on the Philips Records label. By 1962, Mendes and his band were playing at Birdland in New York in an impromptu performance with Cannonball Adderley (who was officially on the bill). Mendes and Adderley cut an album together for Capitol Records which was released later that year.

For most of the second half of the 1960s, Sergio Mendes was the top- selling Brazilian artist in the United States, charting huge hit singles and LPs that regularly made the Top Five. His records with his group, Brasil '66, regularly straddled the domestic pop and international markets in America, getting played heavily on AM radio stations, both rock and easy listening, and he gave his label, A&M, something to offer light jazz listeners beyond the work of the company's co-founder, Herb Alpert. During this period, he also became an international music star and one of the most popular musicians in South America.

His early music, represented on albums like Bossa Nova York and Girl from Ipanema, was heavily influenced by Antonio Carlos Jobim, on whose recording Mendes worked. Mendes liked what he had found on his visit to New York, and in 1964 he moved to the United States, initially to play on albums with Jobim and Art Farmer, and formed Brasil '65 the following year. The group recorded for Capitol without attracting too much notice at first. In 1966, however, Mendes and his band -- renamed Brasil '66 -- were signed to A&M Records and something seemed to click between the group and its audi- ence. The group, consisting in its first A&M incarnation of Mendes on key- boards, Bob Matthews on bass, João Palma on drums, Jose Soares as percussionist, Lani Hall (aka Mrs.

Herb Alpert and A&M's co-founder) on vocals, and Janis Hansen on vocals, was suc- cessful upon the release of its first album for the label, with its mix of Light Jazz, a Bossa Nova beat, and contem- porary Soft Pop melodies.

Their self-titled debut LP rose to num- ber six nationally, propelled by the presence of the single "Mas Que Nada." Their second album, Equinox, yielded a trio of minor hits, "Night and Day," "Constant Rain (Chove Chuva)," and "For Me," but their third, Look Around, rose to number five behind a number three single off the group's version of the Beatles' "Fool on the Hill" and an accompanying hit with "Scarborough Fair," based on the Simon & Garfunkel version of the folk song. Crystal Illu- sions, from 1969, featured a version of Otis Redding’s "(Sittin' On) The Dock of the Bay" and the hit single "Pretty World." Depending upon one's sensibili- ties, these covers -- especially "Fool on the Hill" and "Scarborough Fair" -- were either legitimate, internationalized pop versions of the originals, or they were "elevator music." During this period, Mendes also made several recordings for Atlantic Records separate from his A&M deal, principally aimed at a Light Jazz audience, and several of them in association with Jobim.

Art Farmer, Phil Woods, Hubert Laws, and Claire Fisher were among the Jazz figures who appeared on these records, which never remotely attracted the same level of interest or sales as his records with Brasil '66. Mendes successfully walked a fine line between international and domestic audiences for most of the late '60s until the end of the decade. Ye-Me-Le was notably less successful than its predecessors, and its single, "Wichita Lineman," was only a minor hit. Mendes seemed to lose his com- mercial edge with the turn of the decade, and his next two A&M albums: Stillness, a folk-based collection that contained versions of Joni Mitchell's "Chelsea Morning" and Stephen Stills' "For What It's Worth," and Primal Roots, an album of traditional Brazilian music, failed to make any impression on the charts whatsoever.

The group moved to the much smaller Bell Records label in 1973, and then Mendes jumped to Elektra for his first official solo album, Sergio Mendes.

He re-launched his recording career two years later with Sergio Mendes & Brasil '77 to little avail, and then, after a five-year absence from the public eye, Mendes returned to A&M in 1982. His 1983 comeback album, Sergio Mendes, was his first Top 40 album in nearly a decade and a half, and was accompa- nied by his biggest chart single ever, "Never Gonna Let You Go," which hit number four. Since then, Mendes has had limited chart success with the single "Alibis" and the LP Confetti. He remained a popular figure internatio- nally, even when his record sales slumped in America, as evidenced by the fact that his entire A&M catalog (and much of his Atlantic work) from the '60s has been reissued on CD in Japan.

Indeed, his popularity in the rest of the world, versus America, was even the basis for a comic vignette in one episode of the television series Seinfeld. During the '90s, Mendes performed with a new group, Brasil '99, and more recently, Brasil 2000, and has been inte- grating the sounds of Bahian hip-hop into his music.

Read more: https://en.wikipedia.org/wiki/ Sérgio_Mendes

86 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 In Brazil Bossa Nova was never a fad, and it never really went away. Its distinctive rhythmic syncopation and cool sense of calmness have influenced the development of popular music, both in Brazil and elsewhere, for generations. Like so many cultural products of the New World, Bossa is a true hybrid, blending a rhythm rooted in Africa (the samba) with the complex harmonies of Western classical music and jazz.

Bossa Nova Second Generation In the mid-1960, a group formed by Marcos Valle, Dori Caymmi, Edu Lobo, and Francis Hime sought to reconnect Bossa Nova to Samba, the Baião and the northeastern Xote. ANOTHER CHAPTER Madalena Sousa Editor In Chief

87 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Sources & Credits http://jazzstation-oblogdearnaldodesouteiros.blogspot.com/2015/02/a-legenda ry-concert-by-joao-gilberto.html https://brasilescola.uol.com.br/artes/bossa-nova.htm https://oglobo.globo.com/cultura/musica/artigo-sessenta-anos-de-cancao-do-a mor-demais-album-que-juntou-jobim- joao-vinicius-elizeth-22569270 https://acervo.estadao.com.br/noticias/acervo,desorganizacao-prejudicou-bos sa-nova-no-carnegie-hall,7327,0.htm http://web.archive.org/web/20070922021855/http://daniellathompson.com/Texts /Reviews/Bon_Gourmet.htm http://memorialdademocracia.com.br/page/a-era-do-radio http://acousticguitar.com/how-bossa-nova-made-a-mark-on-popular-music/ http://www.ufrgs.br/alcar/encontros-nacionais-1/encontros-nacionais/6o-enco ntro-2008-1/MUSICA%20E%20DISCO% 20NO%20BRASIL.pdf http://bossanovaproject.us/Mini-Exhibits/exhibits/11.html https://www.publico.pt/2008/08/24/jornal/o-ano-em-que-a--bossa-tomou-o-rio- 273494 https://sites.jmu.edu/fandtinbrazil/bossa-nova/ http://www.luizamerico.com.br/fundamentais-orfeu_.php http://www.jornaldaorla.com.br/noticias/35919-a-bossa-nova-no-carnegie-hall -1962/ Brazilian Music Foundation.Org Asuos Productions, Inc.

Madalena Sousa/Founder of Bossa Magazine/Editor In Chief/Graphic Designer Cristine Adoinet—Assistant/ English Proofreader

88 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Top Bossa Nova Songs to Add to Your Playlist Right Now Chega de Saudade (Tom Jobim/ Vinicius de Moraes) – João Gilberto Samba de uma Nota Só (Tom Jobim/ Newton Mendonça) – Nara Leão Desafinado (Tom Jobim/ Newton Mendonça) – João Gilberto Garota de Ipanema (Tom Jobim/ Vinicius de Moraes/ Norman Gimbel) João Astrud Gilberto, Stan Getz & Tom Jobim O Barquinho (Roberto Menescal/ Ronaldo Bôscoli) – Maysa Influência do Jazz (Carlos Lyra) – Carlos Lyra Manhã de Carnaval (Luis Bonfá/ Antonio Maria) – Agostinho dos Santos, Luis Bonfá & Quarteto de Oscar Castro Neves Batida Diferente (Durval Ferreira/ Mauricio Einhorn) – Tamba Trio Minha Namorada (Carlos Lyra/ Vinicius de Moraes) – Os Cariocas Berimbau (Baden Powell/ Vinicius de Moraes) – Baden Powell Lobo Bobo (Carlos Lyra/ Ronaldo Bôscoli) – Carlos Lyra Corcovado (Quiet Nights of Quiet Stars) (Tom Jobim/ Gene Lees) – Tom Jobim & Frank Sinatra Insensatez (Tom Jobim/ Vinicius de Moraes) – Tom Jobim Dindi (Tom Jobim/ Aloysio de Oliveira) – Sylvia Telles Ela É Carioca (She is a Carioca ( Tom Jobim/ Vinicius de Moraes) – Sérgio Mendes & Sexteto Bossa Rio Balanço Zona Sul ( Tito Madi) – Zimbo Trio Sonho de Maria (Marcos e Paulo Sérgio Valle) – Tamba Trio Samba do Avião (Tom Jobim) – Eumir Deodato Amazonas (João Donato e Lysias Ênio) – João Donato Mas Que Nada (Jorge Ben Jor) – Jorge Ben Jor Aguas de Março (March Water) - (Tom Jobim ) and Elis Regina

89 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12 Among the singers, the most important were Johnny Alf, born in 1929, and Dick Farney (1921-1987). Both were jazz fans and also recorded in English. Johnny Alf, who in addi- tion to being a singer and a pianist, was already intimate with the dissonant harmo- nies of the genre. As for Dick Farney, he knew the entire repertoire of American standards in his “Jazzística” rereads. Lucio Alves (1927-1993), who recorded the well-known "Tereza da Praia" with Farney, is another predecessor of Bossa Nova.

Orlando Silva, although not directly associated with Bossa Nova, was a great influence on João Gilberto, who admired him "for a character- istic: the second time he sang a song, Orlando inserted anticipations and delays that were not in the original Melody", says the scholar Zuza Homem de Mello. Perhaps the most important and characteristic element of Bossa Nova is rhythm. The novelty of João Gilberto's guitar beat is syncopation, which emphasizes the weak beat of a measure, provoking musical tension (as opposed to the emphasis on the strong beat, as in traditional samba, which creates a sensation of rest).

At times, Joao Gilberto's playing also broke the "strong- weak" hierarchy of the beat, without accen- tuating either. In either case, it is this shift to accenting the weak beat that is responsible for the peculiar balance of Bossa Nova. Harmony Bossa Nova gave way to dissonant chords, those that use notes strange to traditional harmony. Many of them were brought from jazz. Other harmonic combinations were created by Tom Jobim. Before the Bossa Nova, the base was a perfect chord, which, being consonant, fulfilled the function of giving harmonic stability to the music. Singing The way to use the voice is also a character- istic of Bossa Nova.

It is not just a matter of "singing softly", in an intimate way, some- thing that was made possible by the appear- ance of higher quality microphones. Mario Reis also sang like this and did not sing Bossa Nova.

The most important thing is that the Bossa Nova singer is not limited to the rhythmic structure. He may anticipate or delay in rela- tion to the measure, stretching or shortening notes. At first, it was thought that the orches- tra went to one way and the singer went another. Not only did the lay people find it strange, traditional musicians also did not understand Bossa Nova. After the initial im- pact, however, this way of singing became more and more accepted. With sequences of these chords it was possi- ble to compose any popular song. But they were insufficient for Bossa Nova, their interpreters, and composers, who had to resort to new chords.

This new harmony was not only dissonant: it was also based on in- verted chords, creating new harmonic threads. In traditional harmony, the first note of a chord, the tonic, corresponds to the base note, that is, to the lowest note. In an inverted chord, a note other than the tonic can be repeated.

Lyrics With Bossa Nova, the lyrics also changed. The tone became more colloquial, spontane- ous, and direct, without the use of meta- phors. The greatest lyricist of Bossa Nova was Vinícius de Moraes (1913-1980), poet of prestige and author of sophisticated verses. Vinicius was a lyricist who sought simplicity. The two songs that were true Bossa Nova proclamations, however, were authored by Newton Mendonça (1927-1960). In"Desafinado", he names the new trend: "If you insist on classifying / my anti-musical behavior / I even lied, I should argue / that this is Bossa Nova, this is very natural." In “Samba de uma nota só” he uses the music as a metaphor - the melody illustrates what the lyrics are saying – he shows the "construction" of a Bossa Nova.

Newton Mendonça was also an excellent pianist and co-authored these hits, along with Tom Jobim.

Instruments The guitar is unquestionably the most popular and widespread instrument in all of Latin America, including Brazil. This is perhaps because of its portability, relative inexpensive, and its ability to accompany the voice with chords. Unlike the steel-string variety popular in North America, the most common type of guitar to be found in Latin countries is the acoustic nylon-string or "classical" guitar, known in Brazil as the "violão". The nylon strings produce a soft, rich tone which has become the hallmark of the Bossa Nova sound. A standard Bossa Nova group might include guitar (acoustic or electric), piano (or keyboard), bass (acoustic or electric), drumset, wind instruments (flute, trombone, sax, trumpet, etc.), strings, and voice.

Often, however, the guitar will be heard by itself accompanying the voice or being played alone as a solo instrument. Most of the composers mentioned thus far are guitarists.

This gives an indication of how important the instrument is in the Bossa Nova. One composer who has exploited the guitar as a solo instrument is Baden Powell (not the Boy Scout man!) João Gilberto is most noted for his style of accompaniment and guitar/vocal interaction. Lyrics are usually sung in Portu- guese, the language of Brazil, although many English translations do exist, particularly for the music of Antonio Carlos Jobim. Basic accompaniment is not very technically demanding, but there are a few important points to keep in mind in order to create an authentic sound. Using a nylon-string guitar of reasonable quality is ideal, although the rhythms can be learned on any guitar.

The chords are fingered with the left hand and the rhythms are created by the thumb and fingers of the right hand. No picks are used. Ideally, one should have nails on the fingers of the right hand, as required in classical guitar technique. The combination of the flesh and nails of the fingers will produce a warm, "bright" sound. As a general rune in Bossa Nova accompaniment, the thumb of the right hand plays the "bass notes" on the A(5th) and E(6th) strings, and the remaining chord tones are played by the combination of the first, second, and third fingers of the right hand pulling any three adjacent strings simultaneously.

Its purest form could be considered unac- companied guitar with vocals, as created, pioneered, and exemplified by João Gilberto. Even in larger, jazz-like arrangements for groups, there is almost always a guitar that plays the underlying rhythm. Gilberto basi- cally took one of the several rhythmic layers from a samba ensemble, specifically the tamborim, and applied it to the picking hand. According to Brazilian musician Paulo Bitencourt, João Gilberto, known for his ec- centricity and obsessed by the idea of finding a new way of playing the guitar, often locked himself in the bathroom, where he played one and the same chord for many hours in a row.

Drums and percussion As in samba, the surdo plays an ostinato figure on the downbeat of beat one, the "ah" of beat one, the downbeat of beat two and the "ah" of beat two. The clave pattern sounds very similar to the two-three or three-two son clave of Cuban styles such as mambo but is dissimilar in that the "two" side of the clave is pushed by an eighth note. Also important in the percus- sion section for Bossa Nova is the cabasa, which plays a steady sixteenth-note pattern. These parts are easily adaptable to the drum set, which makes Bossa Nova a rather popu- lar Brazilian style for drummers.

http://www.laguitarra-blog.com/wp- content/uploads/2012/01/bossa-for- guitar.pdf More Characteristics of Bossa Nova Music Sheets link—Joao Gilberto

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