![]() His work for other producers included „The New Face of Luiz Bonfa“ (1970), the solo-guitar album „Introspection“ (1972) and „Jacaranda,“ an adventurous record with a jazz and Latin-music cast (1973). Through the 60's and early 70's, he recorded a series of albums with the producer Creed Taylor, including „Bossa Nova“ (1962) and „Jazz Samba Encore“ (1963). He wrote music for the soundtrack of the 1966 movie „The Gentle Rain,“ and built a reputation in the United States that was not equaled in his homeland. Bonfa lived in New York with his second wife, Maria Helena Toledo, performing and writing, often working in the late 1960's with the Brazilian keyboardist and composer Eumir Deodato, whose passage to New York was paid for by Mr. He stayed on in New York, living in hotels and returning to Brazil for a few months a year. Bonfa appeared at a historic bossa nova concert at Carnegie Hall, performing ''Manha de Carnaval,'' which was the best-known song of the evening. He returned to Brazil in 1959, when bossa nova was in its ascendancy. Bonfa worked with Mary Martin, the Broadway singer, accompanying her on a solo tour. The film's soundtrack also included work by Jobim and Vinicius da Moraes. Better known to English-speakers as „A Day in the Life of a Fool“ and „Orpheus' Samba“ after the movie came out in 1959, they became some of the most widely recorded and performed Brazilian songs of the bossa nova era. Bonfa played guitar on the soundtrack recording for what would be „Black Orpheus.“ „Manha de Carnaval“ and „Samba de Orfeu“ were the two compositions he offered to the film's director, Marcel Camus. ![]() ![]() He was already well known in Brazil when he left for New York in 1957. He was a delicate, fluent samba player, and in the mid-1950's was used extensively both as a musician and as a composer by Dick Farney, the Brazilian Sinatra-like crooner. Bonfa quit the group in 1953 to work alone, mostly as a songwriter and guitarist. The group performed on Brazil's Radio Nacional in 1946 and was somewhat successful. In the late 1940's, he joined a vocal group called the Quitandinha Serenaders, named after the Quitandinha Hotel in Petropolis, a town near Rio. He studied with the Uruguayan guitarist Isaias Savio. The son of an Italian immigrant, grew up in Rio and took up the guitar at 11. Recorded February 8, 9 at Webster Hall, New York Avid bossa nova fans will certainly treasure this album for the lesser-known Bonfá tunes.“ (Richard S. Clearly Jobim's songwriting contributions - 'So Danco Samba,' 'How Insensitive,' and 'O Morro Nao Tem Vez' - would have the longest shelf life, and though the album didn't sell as well as its two predecessors, it certainly helped break these tunes into the permanent jazz repertoire. Getz injects more high-wailing passages into his intuitive affinity for the groove, even going for some fast bop on 'Un Abraco No Getz,' and Bonfá takes adept care of the guitar solos against Jobim's rock-steady rhythm. Two bona fide giants, Antonio Carlos Jobim and Luiz Bonfá (who gets co-billing), provide the guitars and all of the material, and Maria Toledo contributes an occasional throaty vocal. Thus, the soft-focused grooves are considerably more attuned to what was actually coming out of Brazil at the time. This time, however, on his third such album, Getz relies mostly upon native Brazilians for his backing. Relaxing underneath a ridiculously slow-moving ceiling fan.„Here's some more bossa nova from Stan Getz when the bloom was still on the first Brazilian boom. But it’s not the one note that gives the song its charm it’s the way that the bass line creeps down chromatically under the note, like someone sinking slowly into a deck chair by the pool.ģ. It’s from the guitar that we first hear the “one note” referred to in the title. The soft brushes, the clinking high-hat, the delicate rim hits…it is physically impossible to listen to this without moving your head back and forth like a pigeon.Ģ. He was so loved in Brazil that the international airport in Rio now bears his name fitting for someone who exported Brazillian music to the world.ġ. ![]() And although many versions of “One Note Samba” exist, this one stands as my favourite, and as the one that introduced bossa nova to the northern hemisphere as part of the Grammy-winning album “Jazz Samba” by Stan Getz and Charlie Byrd.Īntonio Carlos Jobim was the most famous Brazilian of the 1960s (other than, maybe, Pele), and his list of hits is staggering. I couldn’t let Southern Hemisphere Month go by without including a bossa nova track.īossa nova (which, I just found out, translates to something like “new wave”) is the southern hemisphere’s greatest contribution to the jazz genre.
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