![]() We have in Brazil - here, I don't know - we have no bastards, you know, because this - every child - every son is legitimate. GROSS: Yeah, but at the time, calling it Jazz made it seem like a bastard kind of form of Brazilian music. Now we can say that bossa nova is very much - you know, can be called jazz, you know, because everything that swings, you know, we call jazz - like, you know, Latin jazz, Caribbean jazz, Brazilian jazz, Cuban jazz. JOBIM: Well - how do you say? - the puritans, you know, the purists - you know, the guys that used to write about the traditional sound, you know? They thought that this was Americanized, you know, which is not true, you know. GROSS: (Laughter) So who was angry at this new music? Who didn't like it? JOBIM: It was more like the cool jazz, you know, at that time, you know, with less - how do you say? - economic, concise, succinct, to the point, you know, to avoid too many beats, too many notes, you know? This kind of music that was called, you know, revolutionary, you know? As Stravinsky said, you know, a complete revolution, you know, you'll come exactly to the same point. What was the revolution about? What made it so different from the music that had been played and sung before? I think when you started writing bossa novas, the bossa nova was seen as a pretty revolutionary music form. GROSS: This was a woman you knew and still know? And it was very, very nice, you know? And she - she's still a beautiful woman, you know? The other day, I saw her. The sea was so blue, green, you know, with the fish and the beautiful girls. And the sand was so clean, you know, fine. And she used to pass by, you know, go to the beach, you know? Ipanema, Ipanema was a beautiful place. Do you have any memories of writing "Girl From Ipanema"?ĪNTONIO CARLOS JOBIM: Yes, that was long ago (laughter). TERRY GROSS, BYLINE: Antonio Carlos Jobim, welcome to FRESH AIR. And when she passes, each one she passes goes, ah. (SOUNDBITE OF SONG, "THE GIRL FROM IPANEMA")ĪSTRUD GILBERTO: (Singing) Tall and tanned and young and lovely. Guitarist Joao Gilberto sang in Portuguese. The 1964 Stan Getz album, "Getz/Gilberto," helped launch the bossa nova craze in the U.S. He wrote "Desafinado," "Wave," "One Note Samba," "How Insensitive" and many other bossa novas, which endured long enough to become pop and jazz standards. In 1988, Terry spoke with Brazilian composer Antonio Carlos Jobim. And we're listening to some of our favorite interviews from the early days of our national daily broadcasts. I’ve danced the twist so much I’m out of breath.This is FRESH AIR. I figure the “vai vai vai” helps keep the Brazilian flavor in any case. I left the Portuguese “Vai vai vai” in there, because I don’t think “go go go” sounds good with the rest-too guttaral. I suspect there may already be an English version of “Só danço samba”, but I haven’t been able to locate it, so I did my own. I haven’t spent much time lately with the stated project of posting about the Divas, but I have spent a fair amount of time creating English versions of several bossa nova classics. Dicionário Cravo Albin da Música Popular Brasileiraįiled under: lyrics | Tags: bossa nova, classics, English lyrics, English version, Jobim, lyrics, new, so danco samba, Vinicius.Cultura Brasil - portal de música brasileira.Maritaca-contemporary Brazilian instrumental music at its finest October 13, 2011. ![]() New English version of “Luz Negra” January 24, 2012.Fishing for contemporary Brazilian music? - Two sites for a good catch May 11, 2012.New English version of “Zelão” October 14, 2012.“The Question Samba” brought to life November 17, 2013.Upcoming Bossa/Samba/MPB events in Vienna, Austria.
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