Jazz

João Gilberto - Chega De Saudade (1959)

2019-09-30T13:55:44Z

João Gilberto - Chega De Saudade (1959)


A1 	Chega De Saudade 	
A2 	Lobo Bobo 	
A3 	Brigas, Nunca Mais 	
A4 	Hó-Bá-Lá-Lá 	
A5 	Saudade Fêz Um Samba 	
A6 	Maria Ninguém 	
B1 	Desafinado 	
B2 	Rosa Morena 	
B3 	Morena Boca De Ouro 	
B4 	Bim Bom 	
B5 	Aos Pés Da Cruz 	
B6 	E Luxo Só

Bass – Vidal
Chorus – Antonio Carlos Jobim, João Gilberto, Walter Santos, Garotos da Lua 
Clarinet – Netinho
Drums –  Milton Banana, Juquinha
Flute – Copinha, Altamiro Carrilho
Guitar – João Gilberto, Vocals
Guitar - Bola Sete, Waltel Branco
Organ – Walter Wanderley
Percussion – Rubens Bassini 
Piano – Antonio Carlos Jobim, Bene Nunes, Jose Marinho
Trombone – Edmundo Maciel, Gaucho, João Donato
Trumpet – Herbert
Violin – Irany Pinto
Vocals – Alaide Costa, Norma Bengell

João Gilberto's debut LP, 1959's Chega de Saudade, 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. 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 melodies 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). [The 2010 U.K. CD reissue on El adds a lot of bonus material, starting with three 1959 Gilberto recordings used in the film Orfeo do Carnaval, among them another classic, "Manha de Carnaval." Also included are no less than eleven 1957-1959 Brazilian recordings by artists other than Gilberto that are tightly or loosely aligned with the early bossa nova movement Bola Sete and Walter Wanderley being the most well known of those. Gilberto was involved in most, but not all, of these as a songwriter or guitarist, and the rationale for their inclusion is not spelled out in the CD's annotation (which, for that matter, has only basic details about these non-Gilberto tracks). It's churlish to complain about abundant extra material on a reissue CD that does include everything from the album it's based upon, but the 12-page booklet had room for such information. Packaging criticism aside, those 11 tracks by performers other than Gilberto are enjoyable and show different slants on the early bossa nova sound, sometimes instrumental, sometimes with shades of exotica (on Wanderley's organ-dominated cuts), sometimes with women singers, and sometimes poppier in approach than Gilberto's own work. Three consecutive versions of Gilberto's "Ho-Ba-La-La" (one of the songs from Chega de Saudade) seem like a programming lapse, but Norma Bengell's vocal version of that song is a highlight, as is Alaide Costa's jazzy rendering of Gilberto's "Minha Saudade."' ---Richie Unterberger, allmusic.com

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João Gilberto - Joao (1991)

2018-05-16T15:15:02Z

João Gilberto - Joao (1991)


1 	Eu Sambo Mesmo (I Really Samba) 	4:09
2 	Siga (Go On) 	4:14
3 	Rosinha (Little Rose) 	3:52
4 	Mãlaga (Malaga) 	5:02
5 	Una Mujer (A Woman) 	3:44
6 	Eu E Meu Coração (My Heart And I) 	5:12
7 	You Do Something To Me 	2:42
8 	Palpite Infeliz (Unhappy Remark) 	3:55
9 	Ave Maria No Morro (Ave Maria On The Hill) 	4:16
10 	Sampa 	5:02
11 	Sorriu Para Mim (Smiled At Me) 	3:06
12 	Que Reste-T-Il De Nos Amours (I Wish You Love) 	5:03

João Gilberto - Acoustic Guitar, Vocals 
Jim Hughart - Acoustic Bass – Jim Hughart
Joe Correro - Drums
Michito Sanchez - Percussion

In the 1950s, by harnessing the exuberant power of samba in gently plucked rhythms and his soft, intimate whispering of the lyrics, guitarist-singer-songwriter João Gilberto helped launch a musical revolution. While not its most important composer, Gilberto became bossa nova's premier interpreter. João, recorded in 1991, features him and his guitar backed by an orchestra (arranged by Clare Fischer) and shows a master in complete control of his craft and his powers. He navigates the lyrics with impeccable diction and uncanny phrasing, heightening the drama by seemingly staying half a breath behind the beat then landing precisely on a particular word, for emphasis. He makes even Italian ("Malaga"), English (Cole Porter's "You Do Something to Me"), and French ("Que Reste-t-il de Nos Amours") sound like natural bossa nova languages. Gilberto's seductive style is smooth, casual, and deceptively easy on the ear; but even in a set with no classics, as this one, each of its miniatures seems to hide a reward to a closer listening. ---Fernando Gonzalez, Editorial Reviews

Recent but classic jazz-bossa is played by one of its defining spirits. Vocally, Gilberto is in fine muttering form, communicating intensely with somebody in his breast pocket, and his guitar is as delicate as ever. This recording expresses the close links of bossa nova and jazz. Joao has Clare Fisher arranging and on some cuts playing keyboards, along with one of those saccharin string-sections even the most avant-garde Brazilians love. ---John Storm Roberts, AllMusic Review

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João Gilberto - João Gilberto (1961)

2017-09-12T14:38:57Z

João Gilberto - João Gilberto (1961)


1 	–João Gilberto 	O Samba Da Minha Terra 	
2 	–João Gilberto 	O Barquinho 	
3 	–João Gilberto 	Bolinha De Papel 	
4 	–João Gilberto 	Saudade Da Bahia 	
5 	–João Gilberto 	A Primeira Vez 	
6 	–João Gilberto 	O Amor Em Paz 	
7 	–João Gilberto 	Você E Eu 	
8 	–João Gilberto 	Trenzinho -Trem De Ferro 	
9 	–João Gilberto 	Coisa Mais Linda 	
10 	–João Gilberto 	Presente De Natal 	
11 	–João Gilberto 	Insensatez 	
12 	–João Gilberto 	Este Seu Olhar

Acoustic Guitar [Violão], Voice – João Gilberto
Arranged By, Piano [Uncredited] – Antonio Carlos Jobim (tracks: A2, A5, A6, B1, B3, B4, B5)
Ensemble – Antonio Carlos Jobim & Orchestra (tracks: A2, A6, B3, B5),
 Walter Wanderley & Seu Conjunto (tracks: A1, A3, A4, B2, B4)

Every song a symphony in two minutes. Features arrangements from Antonio Carlos Jobim and the Walter Wanderley Trio on accompaniment. Everything on this classic album is classic. At the time an innovator of almost unimaginable proportions, today’s João Gilberto’s work is classic. And all the classic songs written by classic composers are interpreted, with class, on this classic early entry in the catalog of João’s classic discography.

It is filled with genius staples in the ‘bossa nova canon’ – “O barquinho”, “Você e eu,” and “Insensatez” for example, which have all been recorded numerous times by numerous people in numerously worthwhile interpretations. But one of João Gilberto’s shamanic skills was taking a tune like Caymmi’s “Samba da minha terra” and transforming it while retaining its essence like an alchemist distilling a musical elixir of eternal youth. Plus, he sings the line “chicken din, chk nndong n a din, ch dongdongdong ch diiiiing, ch dondong ch ch ding ch ch don don don” in it. Which reminds me, I have to remark one of his other remarkable talents, his onomatopoetic skills evident on songs like “Trem de Ferro-Trenzinho”… Who else can do that and not sound silly? Or better yet, who else can do that and stay in time with his complex syncopation? The album closes with one of my favorite Jobim compositions “Este seu olhar”, a true gem of lovelorn melancholic transcendence. Off the top of my head I can’t think of anybody else who recorded this (I’m sure I’m wrong) but it doesn’t matter – there is no surpassing the master’s masterful mastery of this one.

About the only tune I find a little tedious is ‘Presente de natal’ that manages to combine a love song and a Christmas song in what is a bit of an overdose of glucose for me. Small quibble about a masterful album from a master. But I have to feign a critical ear, right?

I hope you all enjoy this vinyl rip. It is from a first pressing vinyl copy from an album that is HALF A CENTURY OLD so of course there is some surface noise. But I find it quite nice. The second side of the album has more distortions than the first, for whatever reason. Perhaps some day I will score another copy and do a combined-rip super-upload. Lest I forget, I was planning this post a long while back to celebrate João’s 80th birthday. Then I sort of forgot it was upon us. So, this is a day late, but I have a feeling we will be celebrating him for a while this year still! --- flabbergasted-vibes.org

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João Gilberto - Live At Umbria Jazz (2002)

2017-12-06T14:26:26Z

João Gilberto - Live At Umbria Jazz (2002)


1 	Isto Aqui O Que E? 	
2 	De Conversa Em Conversa 	
3 	Pra Que Discutir Com Madame? 	
4 	Malaga 	
5 	Estate 	
6 	La Vem A Baiana 	
7 	Corcovado 	
8 	Doralice 	
9 	Rosa Morena 	
10 	Desafinado 	
11 	Saudade Da Bahia 	
12 	O Pato 	
13 	Chega de Saudade 	
14 	Garota de Ipanema

João Gilberto – vocals, guitar

Recorded Live in Perugia, Italy, during Umbria Jazz Festival at Teatro Morlacchi,
 July 21st 1996

Guitarist/vocalist Joao Gilberto is credited with being the originator of the bossa nova, due to his 1950s affiliation with songwriter Antonio Carlos Jobim. Hence, the rest is history. While this recording captures his genius via a solo perfomance at Italy's "Umbria Jazz" festival in 1996. His easily identifiable sound is intact here, as Gilberto delves into fourteen pieces, composed by Jobim and others. The artist's wistful, hush-toned vocals and rhythmically charged acoustic guitar work just reaffirms his significance in modern music. He typifies the coolness of Brazil amid his relatively toe-tapping pulses and contrasting melodic interludes. Part of the beauty, resides within his often-lilting harmonic structures, deterministic sense of purpose and understated themes. Gilberto's sensual demeanor and calming celebration of life hits the mark in a huge way, largely due to his effortless mode of execution and inspiring musical persona. ---Glenn Astarita, AllMusic Review

...Joăo Gilberto on stage at the sold-out Teatro Morlacchi is at his seductive best, which doesn’t necessarily mean he’s whispering. For the appreciative European audience, the singer was more than willing to exercise his vocal chords, express a wide range of emotions, and even produce the occasional vibrato, a taboo for most of his career. Moreover, CD listeners who were forced to crank up the volume in order to hear Joăo Voz e Violăo (2000) will be glad to know that both voice and guitar are captured with excellent clarity on Live at Umbria Jazz.

All the songs on the disc were composed between 1942 and 1963. These 21 years cover Joăo’s formative period, from his childhood in Juazeiro to the early years of his solo career. Eight of the fourteen songs were written by Dorival Caymmi or Tom Jobim, all within a narrow period in each composer’s career. Caymmi is represented with “Rosa Morena” (1942), “Doralice” (1945), “Lá Vem a Baiana” (1947), and “Saudade da Bahia” (1957); Jobim with “Chega de Saudade” (1958), “Desafinado” (1959), “Corcovado” (1960), and “Garota de Ipanema” (1962). The four Caymmi songs had been hits before Joăo recorded them—three were released while he was in his teens. The Jobim songs, on the other hand, were all launched by Joăo himself... ---Daniella Thompson, daniellathompson.com

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