Favela tom jobim biography

In 1963, it was popularized by Jair Rodrigues.
Antonio Carlos Brasileiro de Almeida Jobim was born on January 25, 1927 in the Tijuca section of Rio de Janeiro, though his family later moved.
Jobim was known for his sophisticated, minimalist tracks and imagined Elis & Tom as a largely acoustic affair.

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Bossa Nova: The History Behind Brazil’s Quiet Revolution

1964 was a significant year for pop music. It not only witnessed the meteoric rise of the long-haired, guitar-toting beat groups, led by such pace-setting bands as The Beatles and The Rolling Stones – who started a trend of songwriting self-sufficiency – it also marked the arrival on the world stage of a new kind of jazz-infused music that blended sinuous, caressing melodies with subtle syncopated rhythms. The sound originated in Brazil and was called “bossa nova,” a description that translated into English as “new trend.”

Listen to the best bossa nova songs on Apple Musicand Spotify.

Girl from Ipanema

The song that lit the touch-paper for the bossa nova explosion in the US and the rest of the world was called “The Girl From Ipanema,” sung by Astrud Gilberto in a wispy but beguiling girlish voice, and which reached No.5 in the US pop singles chart in the summer of 1964.

The song transformed Astrud into an international star, even though it wasn’t solely hers – “The Girl From Ipanema” was a collaboration betwe

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O Morro Não Tem Vez

1962 bossa nova song

"O Morro Não Tem Vez" (loosely translated as "The Slums aren't Given a Chance"), also known as "Favela", "O Morro", and "Somewhere in the Hills", is a bossa novajazz standard composed by Antônio Carlos Jobim with lyrics written by Vinicius de Moraes. The English lyrics were written by Ray Gilbert.^[1]

The song was first released in 1962 by Pedrinho Rodrigues as an a-side to "O Amor e a Canção". In 1963, it was popularized by Jair Rodrigues.^[2] The most famous versions are by Astrud Gilberto, Antônio Carlos Jobim, and Stan Getz.^[3]

Context

In 1964, not shortly after the song was released, the Brazilian government suffered a coup and was replaced by a military dictatorship. During this time, many musicians and composers, including songwriters Jobim and de Moraes, were arrested and interrogated by the police or had their calls and mail tapped for creating "subversive" music.^[4]^[5] While bossa nova has not usually been regarded as having political themes,^[6] the

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Antonio Adolfo: Jobim Forever

The Brasilian-born tenor saxophonist Livio Almeida has been based in New York for some time, making a splash with – among other ensembles [including several he led himself – the celebrated Arturo O’ Farrill Afro Latin Jazz Orchestra]. There, as elsewhere, he contributed his singular, inevitably Brasilian rhythmic voice, while subsuming the many colours and flavours of New York’s swinging, rippling, imaginative improvised music, honing his jazzy chops along the way.

Now he returns to the capital of Brasil, his native land to display his singular Brasiliance while indulging in a reverse-engineered musical conception, of what Charles Mingus once called: Osmotin… all of which builds up to the Duke EllingtonianQ Train Samba. But first things first.

Livio Almeida has been rather erudite in making a not-so-subtle statement in picking Brasília, instead of the obvious – Rio de Janeiro or São Paulo – to make his musical statement. That’s not only wise, but a rather clever way of reflecting his ‘jazz voice’ [so to speak], from the profusion of