Antonio Carlos Jobim

   
Artist: Antonio Carlos Jobim

   Genre(s): 
Latin
   Jazz
   Folk
   Other
   Pop
   

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Discography:


   
 The Wonderful World of

   Year: 2006   
Tracks: 12


   
 Stone Flower

   Year: 2006   
Tracks: 10


   
 The Composer Of Desafinado Plays

   Year: 2005   
Tracks: 12


   
 Sun Sea and Sand-Favourites

   Year: 2004   
Tracks: 23


   
 Wave

   Year: 2003   
Tracks: 10


   
 Urubu

   Year: 2001   
Tracks: 8


   
 Tom Canta Vinicius: Ao Vivo

   Year: 2001   
Tracks: 16


   
 Terra Brasilis

   Year: 2001   
Tracks: 20


   
 Minha Historia

   Year: 2000   
Tracks: 14


   
 Bossa Nova

   Year: 2000   
Tracks: 12


   
 Warner Jazz Series

   Year: 1996   
Tracks: 17


   
 The Man from Ipanema Vol.3

   Year: 1996   
Tracks: 16


   
 The Man from Ipanema Vol.2

   Year: 1996   
Tracks: 15


   
 The Man from Ipanema Vol.1

   Year: 1996   
Tracks: 23


   
 The Antonio Carlos Jobim Songbook

   Year: 1996   
Tracks: 15


   
 Girl from Ipanema

   Year: 1996   
Tracks: 15


   
 Antonio Carlos Jobim and Friends

   Year: 1996   
Tracks: 13


   
 Tide

   Year: 1995   
Tracks: 9


   
 Antonio Brasilero

   Year: 1995   
Tracks: 15


   
 Verve Jazz Masters 13

   Year: 1994   
Tracks: 16


   
 Jazz Masters 13

   Year: 1994   
Tracks: 16


   
 Passarim

   Year: 1987   
Tracks: 12


   
 Black Orpheus

   Year: 1959   
Tracks: 12

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It has been aforementioned that Antonio Carlos Brasileiro de Almeida Jobim was the George Gershwin of Brazil, and in that respect is a solid ring of verity in that, for both contributed big bodies of songs to the jazz repertory, both expanded their reach into the concert hall, and both run to symbolize their countries in the eyes of the rest of the world. With their graciously polished, sensuously ache melodies and harmonies, Jobim's songs gave jazz musicians in the sixties a hushed, strikingly original alternate to their traditional Tin Pan Alley source.


Jobim's roots were always planted hard in idle words; the records of Gerry Mulligan, Chet Baker, Barney Kessel, and other West Coast jazz musicians made an enormous encroachment upon him in the fifties. But he besides claimed that the French impressionist composer Claude Debussy had a critical influence upon his harmonies, and the Brazilian samba gave his music a uniquely alien rhythmical underpinning. As a pianist, he unremarkably unbroken things simple-minded and melodically to the point with a touch that reminds some of Claude Thornhill, merely some of his records show that he could as well stretch taboo when apt room. His guitar was limited by and large to gentle strumming of the syncopated rhythms, and he american ginseng in a meek, slightly husky in time ofttimes hauntingly emotional manner.


Born in the Tijuca neighborhood of Rio, Jobim originally was headed for a career as an architect. Yet by the fourth dimension he turned 20, the come-on of music was to a fault powerful, and so he started acting pianissimo in nightclubs and working in recording studios. He made his first record in 1954 championship singer Bill Farr as the loss leader of "Turkey cock and His Band" (Tom was Jobim's lifelong soubriquet), and he first base found renown in 1956 when he teamed up with poet Vinícius de Moraes to leave part of the score for a play called Orfeo do Carnaval (by and by made into the illustrious cinema Sinister Orpheus). In 1958, the then-unknown Brazilian isaac M. Singer João Gilberto recorded some of Jobim's songs, which had the impression of launching the phenomenon known as bossa nova. Jobim's breakthrough outside Brazil occurred in 1962 when Stan Getz and Charlie Byrd scored a surprise stumble with his line "Desafinado" -- and after that yr, he and several other Brazilian musicians were invited to enter in a Carnegie Hall case. Fueled by Jobim's songs, the bossa nova became an international furor, and jazz musicians jumped on the bandwagon, recording album after record album of bossa novas until the style ran out of commercial-grade steam in the tardy '60s.


Jobim himself preferent the recording studios to touring, fashioning several adorable albums of his euphony as a piano player, guitar player, and singer for Verve, Warner Bros., Discovery, A&M, CTI, and MCA in the '60s and '70s, and Verve again in the last tenner of his spirit. Early on, he started collaborating with arranger/conductor Claus Ogerman, whose subtle, kissing, at times helen Wills charts gave his records a haunting atmosphere. When Brazilian music was in its American eclipse after the '60s, a victim of overexposure and the burgeoning rock candy revolution, Jobim retreated more into the background, concentrating much vitality upon plastic film and TV wads in Brazil. But by 1985, as the idea of worldly concern music and a second Brazilian wave collected steam, Jobim started touring again with a group containing his moment wife Ana Lontra, his word Paulo, daughter Elizabeth, and versatile instrumentalist friends. At the time of his last concerts in Brazil in September 1993 and at Carnegie Hall in April 1994 (both available on Verve), Jobim at net was receiving the universal realisation he merited, and a overplus of testimonial albums and concerts followed in the arouse of his sudden death in New York City of inwardness bankruptcy. Jobim's report as one of the great songwriters of the century is forthwith secure, nowhere more so than on the jazz setting, where every other set seems to contain at least one bossa nova.





Dave Grusin and GRP All-Star Big Band