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João Gilberto

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João Gilberto
Background information
Birth nameJoão Gilberto Prado Pereira de Oliveira
Born (1931-06-10) June 10, 1931 (age 93)
OriginJuazeiro, Bahia, Brazil
GenresBossa nova, Samba, Brazilian jazz, Latin jazz
Occupation(s)Guitarist, singer, Songwriter
Instrument(s)Singer, guitarist
Years active1950–present

João Gilberto Prado Pereira de Oliveira, known as João Gilberto (Portuguese pronunciation: [ˈʒwɐ̃w ʒiwˈbɛʁtu];[1] June 10, 1931), is a Brazilian singer and guitarist. His seminal recordings, including many songs by Antônio Carlos Jobim and Vinicius de Moraes, established the new musical genre of Bossa nova in the late 1950s.

Biography

João Gilberto was born in Juazeiro, Bahia. From an early age, music was a part of Gilberto's life. His grandfather bought him his first guitar at the age of 14. During high school, Gilberto teamed up with some of his classmates to form a small band. Gilberto, who led the band, was influenced by Brazilian popular songs, American jazz, and even some opera, among other genres. After trying his luck as a radio singer in Salvador, Bahia, the young Gilberto was recruited in 1950 as lead singer of the vocal quintet Garotos da Lua (Moon Boys) and moved to Rio de Janeiro. A year and a half later, he was dismissed from the group for his lack of discipline (he would often show up late to rehearsals or not at all).

Last 25 years - (1984-2008)

Starting with the concert at the Coliseu dos Recreios in Lisbon in June 1984 celebrating his 25-year career until his last tour in 2008 celebrating 50 years of Bossa Nova, João Gilberto was managed by Showbras[2]. In 1986, the heyday of rock Brazil, João made his first soundtrack recording for a television soap opera, the Brazilian hit of the moment "Call Me" (by Lobao). After releasing the album "Live in Montreux" in 1989, João was nominated for a Grammy for the Best Jazz Male Vocal Performance. In 1990, João joined Maria Bethania (Caetano Veloso's sister) on her album [celebrating her 25 years career]. His album "João" was released the following year, accompanied by an appearance at a national TV advert for “Brahma” beer . It was one of the first adverts to feature a major recording artist and encouraged other artists to appear in advertising campaigns. The same year saw the release of the TV series "João and Antonio" narrated by Caetano Veloso and directed by Walter Moreira Salles ref>Joao and Antonio</ref>. The "Number One" tour [1991] marked the reunion of João and Tom Jobim on stage after more than 30 years. The concert was recorded for a TV special and distributed by VideoFilmes in several countries, including the BBC in Great Britain. "Sampa" is the only music video by João Gilberto which was directed by Brazilian filmmaker Ricardo Van Steen. In 1993, João performed at the reopening of the Teatro Castro Alves in Salvador, Bahia accompanied by Maria Bethania and Gal Costa. He also performed at the first Miami Jazz Festival held at the Jack Gleason Theater the same year. In 1994, during a live performance in Sao Paulo, a TV special was recorded to celebrate the anniversary of the Brazilian TV channel TV Cultura. The recording of the performance was released by Sony under the title "I Know That I Love You." [2] At the Avery Fisher Hall in New York in 1995, João performed at a concert dedicated to Antonio Carlos Jobim (1927-1994)[5], involving other well-known artists such as Sting, Herbie Hancock and Astrud Gilberto. In 2001, he won a Grammy (Best World Music Album) for "João Voice and Guitar". In 2003, João performed for the first time in Japan, at Forum in Tokyo. João returned to Forum twice and recorded a live album. In June 2005, João Gilberto featured in a TV advert for Companhia Vale do Rio Doce. The advert was filmed in Rio de Janeiro and the song ends with the words "the best of Brazil is the Brazilian people." The advert was only shown on TV in October 2008 and a year later it was re-released. In 2008, João signed his biggest contract in celebration of his 50 year career, with the sponsorship of a bank[6] [3]. Over the 25 years João Gilberto made appearances in the US, Europe and Brazil, recorded four studio albums, two live albums and featured in three Brazilian national TV advertising campaigns.

History

João Gilberto's first recordings were released in Brazil as two-song 78-rpm singles between 1951 and 1959. In the 1960s, Brazilian singles evolved to the "double compact" format, and João would release some EPs in this new format, which carried 4 songs on a 45-rpm record.

For seven years, Gilberto's career was at a low ebb. He rarely had any work, was dependent on his friends for living quarters, and fell into chronic depression. Eventually, in 1955 he was rescued from this rut by Luiz Telles, leader of the vocal group Quitandinha Serenaders, who took him to Porto Alegre in southern Brazil. In this provincial town João Gilberto blossomed musically. Next he spent eight months with his sister in Diamantina, Minas Gerais,[4] where he sequestered himself and played day and night in a little bathroom (because of the improved acoustic), forging a personal style for voice and guitar, that would come to be known as bossa nova. The first bossa nova song, titled "Bim-Bom", was written as Gilberto watched passing laundresses on the banks of the São Francisco River balance loads of clothes on their heads.

Just after this time Gilberto's father, upset by João's bizarre singing style and refusal to take "normal" work, committed him to a mental hospital. In a psychological interview there, Gilberto stared out the window and remarked, “Look at the wind depilating the trees.” The psychologist replied, “But trees have no hair, João,” to which Gilberto responded, “And there are people, who have no poetry.” He was released after a week. The next year (1956) he returned to Rio and struck up old acquaintances, most significantly Antonio Carlos Jobim, who was by then working as a composer, producer and arranger with Odeon Records. Jobim was impressed with Gilberto's new style of guitar playing, and set about finding a suitable song to pitch the style to Odeon management.

Bossa nova ("new style") is a refined version of samba, de-emphasizing the percussive aspect of its rhythm and enriching the melodic and harmonic content. Rather than relying on the traditional Afro-Brazilian percussive instruments, João Gilberto often eschews all accompaniment except his guitar, which he uses as a percussive as well as a harmonic instrument, incorporating the parts of different samba percussion instruments such as the tamborim and the surdo from a full batucada band. The singing style he developed is almost whispering, economical, and without vibrato. He creates his tempo tensions by singing ahead or behind the beat.

This style, which Gilberto introduced in 1957, created a sensation in the musical circles of Rio's Zona Sul, and many young guitarists sought to imitate it. It was first heard on record in 1958 in a recording of "Chega de Saudade", a song by Jobim and Vinicius de Moraes. Gilberto had first accompanied singer Elizeth Cardoso as her guitarist in a recording of this song, explaining his vision for the new style, but Cardoso would have none of his singing advice and sung it in the standard way. But shortly after this recording, João Gilberto made his own debut single of the same song, in the new style, followed by the 1959 LP, Chega de Saudade. The song () turned into a hit, launching Gilberto's career and the bossa nova craze. Besides a number of Jobim compositions, the album featured older sambas and popular songs from the 1940s and 1950s, all performed in Gilberto's distinctive style. This album was followed by two more in 1960 and 1961, by which time the singer featured new songs by a younger generation( see Discography).

By 1962, bossa nova had been embraced by North American jazz musicians such as Herbie Mann, Charlie Byrd, and Stan Getz, who invited Gilberto and Jobim to collaborate on what became one of the best-selling jazz albums of all time, Getz/Gilberto. Through this album, Gilberto's then wife Astrud -- who had never sung professionally prior to this recording session[5] -- became an international star, and the Jobim/de Moraes composition "The Girl from Ipanema" became a worldwide pop music standard.

João Gilberto lived in the United States from 1962 until 1969, when he moved to Mexico for two years. There he recorded João Gilberto en México (1970). João Gilberto, aka the "White Album" (1973), featured hypnotic minimalist execution, limited to the singer, his guitar, and Sonny Carr on drums. 1976 saw the release of The Best of Two Worlds, a reunion with Stan Getz, featuring singer Miúcha, (sister of Chico Buarque), who had become Gilberto's second wife in April 1965. Amoroso (1977) backed Gilberto with the lush string orchestration of Claus Ogerman, who had provided a similar sound to Jobim's instrumental recordings in the late 1960s and early 1970s. As had been the case for all of Gilberto's albums, the album consisted mostly of Jobim compositions, mixed with older sambas and an occasional North American standard from the 1940s.

João Gilberto returned to Brazil in 1980. The following year saw the release of Brasil, with guests Gilberto Gil and Caetano Veloso, who in the late 1960s had founded the Tropicalia movement, a fusion of Brazilian popular music with foreign pop. The 1991 release João, with orchestrations by Clare Fischer, was unusual in its lack of even a single Jobim composition, instead featuring songs in English, French, Italian, and Spanish, plus old sambas and the solitary contemporary song "Sampa" (Caetano Veloso). Also released in 1991 was the album Canto do Pajé by Veloso's sister Maria Bethânia, on which Bethânia and Gilberto sing an intimate medley of "Maria" (Ary Barroso/Luiz Peixoto) and "Linda Flor"' (Henrique Vogeler/Luiz Peixoto/Marques Pôrto), accompanied solely by his guitar. João Voz e Violão (2000) was an homage to the music of Gilberto's youth as well as a nod to producer Caetano Veloso.

Evenly interspersed with these studio recordings have been the live recordings Live in Montreux; João Gilberto Prado Pereira de Oliveira; Eu Sei Que Vou Te Amar; Live at Umbria Jazz; and Live in Tokyo.

While all of Gilberto's albums since Getz/Gilberto have been released on CD, the first three domestic albums were released in 1988 by EMI on a single CD entitled The Legendary João Gilberto: The Original Bossa Nova Recordings (1958–1961). The disc also included three tracks from the singer's 1959 Orfeu Negro EP: "Manhã de Carnaval," O Nosso Amor, and A Felicidade, the latter two merged into a single medley track to fit within the recording time of a CD. After its release, Gilberto successfully sued to have the title removed from sale as an unauthorized release of his artistic works.

João Gilberto has long had a reputation as an artist, who values his privacy. He lives in an apartment in Leblon, Rio de Janeiro, refusing interviews and avoiding crowds. He also has high standards for acoustics and noise control. He doesn't like inappropriate noise or theaters possessing poor acoustics; occasionally he requested, that the air conditioning be turned off at concert venues.

He made his performances with sell-out crowds in Brazil as well as in Europe, North America, and Japan. His planned public performances in Madrid (2009) and New York (2010) were cancelled at short notice. A 2011 mini-tour of Brazil was cancelled due to health reasons. He is the father of singer Bebel Gilberto (Isabel), via his marriage to Miúcha.

In 1997, João sued record label EMI over a reissuing of several of his early works, which he contended were poorly remastered. According to The New York Times, "A statement by his lawyer at the time declared, that the reissues contained sound effects that 'did not pertain to the original recordings, banalizing the work of a great artist.'" Following the incident, EMI ceased to manufacture the albums in question, and, as of 2008, the lawsuit is yet to reach a decision.

Discography

▪ Quando Você Recordar/Amar É Bom - 78 rpm single (Todamerica, 1951) ▪ Anjo Cruel/Sem Ela - 78 rpm single (Todamerica, 1951) ▪ Quando Ela Sai/Meia Luz - 78 rpm single (Copacabana, 1952) ▪ Chega de Saudade/Bim Bom - 78 rpm single (Odeon, 1958) ▪ Desafinado/Hô-bá-lá-lá - 78 rpm single (Odeon, 1958)

▪ Chega de Saudade (Odeon, 1959) Chega de saudade (T. Jobim - Vinicius de Moraes) Lobo bobo (Carlos Lyra - Ronaldo Bôscoli) Brigas, nunca mais (Tom Jobim - Vinicius de Moraes) Hô-bá-lá-lá (João Gilberto) Saudade fez um samba (C. Lyra - Ronaldo Bôscoli) Maria Ninguém (Carlos Lyra) Desafinado (Newton Mendonça - Tom Jobim) Rosa morena (Dorival Caymmi) Morena Boca de Ouro (Ary Barroso) Bim bom (João Gilberto) Aos pés da cruz (Marino Pinto - Zé da Zilda) É luxo só (Ary Barroso - Luiz Peixoto)

▪ O Amor, o Sorriso e a Flor (Odeon, 1960) Samba de uma nota só (N. Mendonça - Tom Jobim) Doralice (Antônio Almeida - Dorival Caymmi) Só em teus braços (Tom Jobim) Trevo de quatro folhas (M.Dixon - H.Woods) Se é tarde me perdoa (C. Lyra - Ronaldo Bôscoli) Um abraço no Bonfá (João Gilberto) Meditação (Newton Mendonça - Tom Jobim) O pato (Jayme Silva - Neusa Teixeira) Corcovado (Tom Jobim) Discussão (Newton Mendonça - Tom Jobim) Amor certinho (Roberto Guimarães) Outra vez (Tom Jobim)

▪ João Gilberto (Odeon, 1961) Samba da minha terra (Dorival Caymmi) O barquinho (Roberto Menescal - Ronaldo Bôscoli) Bolinha de papel (Geraldo Pereira) Saudade da Bahia (Dorival Caymmi) A primeira vez (Marçal - Bide) O amor em paz (Tom Jobim - Vinicius de Moraes) Você e eu (Carlos Lyra - Vinicius de Moraes) Trem de Ferro-Trenzinho (Lauro Maia) Coisa mais linda (Carlos Lyra - Vinicius de Moraes) Presente de natal (Nelcy Noronha) Insensatez (Tom Jobim - Vinicius de Moraes) Este seu olhar (Tom Jobim)

▪ Getz/Gilberto (Verve, 1963) Garota de Ipanema (T. Jobim - V. de Moraes) Doralice (Antônio Almeida - Dorival Caymmi) Pra Machucar meu coração (Ary Barroso) Desafinado (Newton Mendonça - Tom Jobim) Corcovado (Tom Jobim) Só danço samba (T. Jobim - V. de Moraes) O grande amor (T. Jobim - V. de Moraes) Vivo sonhando (Tom Jobim)

▪ Getz Gilberto (live) At Carnegie Hall (1965) Samba da minha terra (Dorival Caymmi) Rosa morena (Dorival Caymmi) Um abraço no Bonfá (João Gilberto) Bim-Bom (João Gilberto) Meditation (Newton Mendonça - T. Jobim) O pato (Jayme Silva - Neusa Teixeira)

▪ João Gilberto en México (Orfeon, 1970) De conversa em conversa (L. Alves - H. Barbosa) Ela é carioca (Tom Jobim - Vinicius de Moraes) O sapo (João Donato) Esperança perdida (Billy Blanco - Tom Jobim) Trolley song (Irving Berlin) João Marcelo (João Gilberto) Farolito (A.Lara) Astronauta (Samba da pergunta) (Marcos Vasconcellos - Pingarilho) Acapulco (João Gilberto) Besame mucho (C. Velazquez) Eclipse (E.Lecuona)

▪ João Gilberto (Philips, 1970) Águas de março (Tom Jobim) Undiú (João Gilberto) Na baixa do sapateiro (Ary Barroso) Avarandado (Caetano Veloso) Falsa baiana (Geraldo Pereira) Eu quero um samba (Janet de Almeida - Haroldo Barbosa) Eu vim da Bahia (Gilberto Gil) Valsa (João Gilberto) É preciso perdoar (Alcivando Luz - Carlos Coquijo) Isaura (Roberto Roberti - Herivelto Martins)

▪ Stan Getz-The Best of Two Worlds (CBS, 1976) Double rainbow (Tom Jobim) Participação: Miúcha Águas de março (Tom Jobim) Participação: Miúcha Ligia (Tom Jobim) Falsa baiana (Geraldo Pereira) Retrato em branco e preto (C. Buarque - T.Jobim) Izaura (Roberto Roberti - H. Martins) Part: Miúcha Eu vim da Bahia (Gilberto Gil) João Marcello (João Gilberto) É preciso perdoar (C.Coqueijo - A.Luz) Just one of those things (Cole Porter) Part: Miúcha

▪ Amoroso (Warner/WEA, 1977) S Wonderful (George e Ira Gershwin) Estate (Bruno Martino - Bruno Brighetti) Tim tim por tim tim (G. Jacques - Haroldo Barbosa) Besame mucho (C.Velaquez) Wave (Tom Jobim) Caminhos cruzados (N. Mendonça - Tom Jobim) Triste (Tom Jobim) Zingaro (Chico Buarque - Tom Jobim)

▪ João Gilberto Prado Pereira de Oliveira (WEA, 1980) LIVE Menino do Rio (Caetano Veloso) Curare (Bororó) Retrato em branco e preto (C. Buarque - T. Jobim) Chega de saudade (T. Jobim - V. de Moraes) Desafinado (Newton Mendonça - Tom Jobim) O pato (Jayme Silva - Neusa Teixeira) Eu e a brisa (Johnny Alf) Jou Jou Balangandãs (Lamartine Babo) Canta Brasil (David Nasser - Alcyr Pires Vermelho) Aquarela do Brasil (Ary Barroso) Bahia com H (Denis Brean) Tim tim por tim tim (G. Jacques - H. Barbosa) Estate (Bruno Martino - Bruno Brighetti)

▪ Brasil (WEA, 1981) Aquarela do Brasil (Ary Barroso) Disse alguém (All of me) (geraldo Marks - Seymor Simons/Versão Haroldo Barbosa) Bahia com H (Denis Brian) No tabuleiro da baiana (Ary Barroso) Milagre (Dorival Caymmi) Cordeiro de Nanã (Mateus - Dadinho)

▪ Live at the 19th Montreux Jazz Festival (WEA, 1986) LIVE DISCO 1 Tim tim por tim tim (G. Jacques - Haroldo Barbosa) Preconceito (Marino Pinto - Wilson Batista) Sem compromisso (N. Trigueiro - Geraldo Pereira) Menino do Rio (Caetano Veloso) Retrato em branco e preto (C. Buarque - T. Jobim) Pra que discutir com madame (J. de Almeida - Haroldo Barbosa) Garota de Ipanema (T. Jobim - V. de Moraes) Desafinado (Newton Mendonça - Tom Jobim) O pato (Jaime Silva - Neusa Teixeira) DISCO 2 Adeus América (G. Jacques - Haroldo Barbosa) Estate (Bruno Martino - Bruno Brighetti) Morena Boca de Ouro (Ary Barroso) A felicidade (Tom Jobim - Vinicius de Moraes) Sandália de prata (Ary Barroso) Aquarela do Brasil (Ary Barroso)

▪ João (PolyGram, 1991) Eu sambo mesmo (Janet de Almeida) Siga (Hélio Guimarães - Fernando Lobo) Rosinha (Jonas Silva) Málaga (Fred Bongusto) Una mujer (Paul Misraki - C. Olivari - S. Pontal Rios) Eu e meu coração (I. Vilarinho - Antônio Botelho) You do something to me (Cole Porter) Palpite infeliz (Noel Rosa) Ave Maria no morro (Herivelto Martins) Sampa (Caetano Veloso) Sorriu pra mim (Garôto - Luiz Cláudio) Que reste-t-il de nos amours (Trenet - L. Chauliag)

▪ Eu Sei que Vou Te Amar (Epic/Sony, 1994) LIVE Eu sei que vou te amar (T. Jobim - V. de Moraes) Desafinado (Newton Mendonça - Tom Jobim) Você não sabe amar (C. Guinle - H. Lima - D. Caymmi) Fotografia (Tom Jobim) Rosa Morena (Dorival Caymmi) Lá vem a baiana (Dorival Caymmi) Pra que discutir com madame (J. de Almeida - Haroldo Barbosa) Isto aqui o que é? (Ary Barroso) Meditação (Newton Mendonça - Tom Jobim) Da cor do pecado (Bororó) Guacyra (J.Camargo - H.Tavares) Se é por falta de adeus (D. Duran - Tom Jobim) Chega de saudade (T. Jobim - V. de Moraes) A valsa de quem não tem amor (E. Ruy - Mesquita) Corcovado (Tom Jobim) Estate (B.Bringhetti - B.Martino) O amor em paz (Tom Jobim - Vinicius de Moraes) Aos pés da Cruz (Marino Pinto - Zé da Zilda)

▪ João Voz e Violão (Universal/Mercury, 2000) Desde que o samba é samba (Caetano Veloso) Você vai ver (Tom Jobim) Eclipse (Lecuona) Não vou pra casa (A. Almeida - Roberto Roberti) Desafinado (Newton Mendonça - Tom Jobim) Eu vim da Bahia (Gilberto Gil) Coração vagabundo (Caetano Veloso) Da cor do pecado (Bororó) Segredo (Marino Pinto - Herivelto Martins) Chega de saudade (T. Jobim - V. de Moraes)

▪ Live At Umbria Jazz (EGEA, 2002) LIVE Isto Aqui o Que É? (Ary Barroso) De Conversa em Conversa (L. Alves/H. Barbosa) Pra Que Discutir com Madame? (Haroldo Barbosa/Janet de Almeida) Malaga (Fred Bongusto) Estate (Bruno Martino/Bruno Brighetti) Lá Vem a Baiana (Dorival Caymmi) Corcovado (Antonio Carlos Jobim) Doralice (Dorival Caymmi/Antônio de Almeida) Rosa Morena (Dorival Caymmi) Desafinado (T. Jobim/Newton Mendonça) Saudade da Bahia (Dorival Caymmi) O Pato (Jaime Silva/Neuza Teixeira) Chega de Saudade (T. Jobim/V. de Moraes) Garota de Ipanema (T. Jobim/V. de Moraes)

▪ João Gilberto in Tokyo (Universal, 2004) Acontece Que Eu Sou Baiano (Dorival Caymmi) Meditacao (Tom Jobim/ Newton Mendonca) Doralice (Antonio Almeida/ Dorival Caymmi) Corcovado (Tom Jobim) Este Seu Olhar (Tom Jobim) Isto Aqui o Que é? (Ary Barroso) Wave (Tom Jobim) Pra Que Discutir com Madame? (Janet de Almeida/ Haroldo Barbosa) Ligia (Tom Jobim) Louco (Henrique de Almeida/ Wilson Batista) Bolinha de Papel (Geraldo Pereira) Rosa Morena (Dorival Caymmi) Adeus America (Geraldo Jaques/ Haroldo Barbosa) Preconceito (Marino Pinto/ Wilson Batista) Aos Pes da Cruz (Marino Pinto/ Ze da Zilda)

Compilations

  1. ▪ Brilliant João Gilberto (Capitol, 1961)
  2. ▪ João Gilberto Cantando as Músicas do Filme Orfeu do Carnaval (Odeon, 1962)
  3. ▪ Boss of the Bossa Nova (Atlantic, 1962)
  4. ▪ Bossa Nova at Carnegie Hall (Audo Fidelity, 1962)
  5. ▪ The Warm World of João Gilberto (Atlantic, 1963)
  6. ▪ Herbie Mann & João Gilberto (Atlantic, 1965)
  7. ▪ Gilberto and Jobim (Capitol, 1977)
  8. ▪ Interpreta Tom Jobim (EMI/Odeon, 1985)
  9. ▪ Meditação (EMI, 1985)
  10. ▪ O Mito (EMI, 1988)
  11. ▪ The Legendary João Gilberto (World Pacific, 1990)
  12. ▪ "João Gilberto for Tokyo" (2006)

Chega de Saudade (Tom Jobim/Vinícius de Morais) Águas de Março (Tom Jobim) The Girl from Ipanema (T. Jobim, V. de Moraes/Norman Gimbel) Ela é Carioca (Tom Jobim/Vinícius de Moraes) Falsa Baiana (Geraldo Pereira) Palpite Infeliz (Noel Rosa) Eu Sambo Mesmo (Janet de Almeida) Ave Maria do Morro (Herivelto Martins) Doralice (Antônio Almeida/Dorival Caymmi) De Conversa em Conversa (Lúcio Alves/Haroldo Barbosa) Não Vou pra Casa (Antônio Almeida/Roberto Roberti) Eclipse (Ernest Lecuona) Acapulco (João Gilberto) Um Abraço no Bonfá (João Gilberto) Bim Bom (João Gilberto) Corcovado (Tom Jobim) Isaura (Herivelto Martins/Roberto Roberti) É Preciso Perdoar (Carlos Coqueijo/Acivaldo Luz) Desde que o Samba é Samba (Caetano Veloso) Desafinado (Tom Jobim/Newton Mendonça)

References

  1. ^ [1]
  2. ^ Antonio's tribute
  3. ^ 50 years sponsor
  4. ^ [2], "Atrás da batida perfeita, João Gilberto muda de endereço várias vezes" from Bravo magazine newsroom
  5. ^ Astrud Gilberto official website - interview
  • [3], "João Gilberto's Pioneering Bossa Nova Records Are Caught In a Legal Limbo" by The New York Times
  • [4], "The Man Who Invented Bossa Nova" by Daniella Thompson

Sources

  • Castro, Ruy (trans. by Lysa Salsbury). "Bossa Nova: The Story of the Brazilian Music That Seduced the World." 2000. 1st English language edition. A Capella Books, an imprint of Chicago Review Press, Inc. ISBN 1-55652-409-9 First published in Brasil by Companhia das Letras. 1990.
  • McGowan, Chris and Pessanha, Ricardo. "The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil." 1998. 2nd edition. Temple University Press. ISBN 1-56639-545-3
  • Gridley, Mark. Jazz Styles: History and Analysis. 9th. NJ: Pearson Prentice Hall, Print.

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