João Gilberto – Live At Umbria Jazz (2002)

FrontCover1Guitarist/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. (by Glenn Astarita)

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…  (by Daniella Thompson)

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



João Gilberto (vocals, guitar)


01. Isto Aqui O Que E? (Barroso) 3.17
02 De Conversa Em Conversa (Albes/Barbosa) 2.36
03. Pra Que Discutir Com Madame? (Barbosa/De Almeida) 4.15
04. Malaga (Bongusto) 4.16
05. Estate (Martino/Brighetti) 4.37
06. La Vem A Baiana (Caymmi) 4.45
07. Corcovado (Jobim) 3.56
08. Doralice (Caymmi/Almeida) 2.11
09. Rosa Morena (Caymmi) 3.17
10. Desafinado (Jobim/Mendonca) 7.32
11 Saudade Da Bahia (Caymmi) 2.43
12 O Pato (Teixeira/Silva) 4.26
13 Chega de Saudade (Jobim/ de Moraes) 6.41
14 Garota de Ipanema (Jobim/ de Moraes) 5.17





Laurindo Almeida – Guitar From Ipanema (1964)

FrontCover1Laurindo Almeida (September 2, 1917 – July 26, 1995) was a Brazilian virtuoso guitarist and composer who made many recordings of enduring impact in classical, jazz and Latin genres. He is widely credited, with fellow artist Bud Shank, for creating the fusion of Latin and jazz which came to be known as the jazz samba. Almeida was the first artist to receive Grammy Awards for both classical and jazz performances. His discography encompasses more than a hundred recordings over five decades. (by wikipedia)

It is a bit ironic that guitarist Laurindo Almeida found himself in the 1960’s jumping on the bossa-nova bandwagon a bit late for he had actually pioneered the movement a decade earlier. The Brazilian guitarist plays well enough on the 11 bossa tunes included on this out-of-print Lp (mostly originals plus covers of “The Girl From Ipanema,” “Manha De Carnaval” and “Quiet Nights Of Quiet Stars”) but the arrangements (which sometimes utilize the whistling of Jack Marshall, George Field’s harmonica and flutist Harry Klee among others) are commercial and overly concise; all but two of the songs are under three minutes. Irene Kral’s two vocals (quite early in her career) are a plus and the music is quite pleasing but there are no surprises. (by Scott Yanow)

This music is magical …. and I imagine to touch the body of my lady with a feather …

Laurindo Almeida

Laurindo Almeida (guitar)
Justin Gordon (flute)
Al Hendrickson (guitar)
Djalma Ferreira (organ on 05.)
George Fields (harmonica on 02. + 10.)
Harry Klee (flute on 03., 06. + 07.)
Irene Kral (vocals on 03., 08.)
Fafá Lemos (violin on 11.)
Jack Marshall (guitar … occasional, whistling on 01., 09.)


01. The Girl From Ipanema (Jobim/Gimbel/DeMorares) 2.20
02. Manhã de Carnaval (Maria/Bonfa) 3.10
03. Sarah’s Samba (Almeida) 2.08
04. Winter Moon (Almeida/Nelson) 2.58
05. Izabella (Ferreira) 2.34
06. Choro For People In Love (Almeida) 2.50
07. Quiet Nights Of Quiet Stars (Corcovado) (Jobim) 2.42
08. Old Guitaron (Mercer/Almeida) 3.51
09. Um Abraço No Bonfa (Gilberto) 2.12
10. Twilight In Rio (Almeida) 3.04
11. The Fiddler’s Wolf Whistle (Lemos) 2.11


Various (unknown) Artists – Movimento Brasil – Bossa Nova (2005)

frontcover1Bossa nova is a genre of Brazilian music, which developed and was popularized in the 1950s and 1960s and is today one of the best-known Brazilian music genres abroad. The phrase bossa nova means literally “new trend” . A lyrical fusion of samba and jazz, bossa nova acquired a large following in the 1960s, initially among young musicians and college students.

In Brazil, the word “bossa” is an old-fashioned slang for something that is done with particular charm, natural flair or innate ability. As early as 1932, Noel Rosa used the word in a samba:

“O samba, a prontidão e outras bossas são nossas coisas, são coisas nossas.” (“The samba, the readiness and other bossas are our things, are things from us.”)

The exact origin of the term “bossa nova” remained unclear for many decades, according to some authors. Within the artistic beach culture of the late 1950s in Rio de Janeiro, the term “bossa” was used to refer to any new “trend” or “fashionable wave”. In his book Bossa Nova, Brazilian author Ruy Castro asserts that “bossa” was already in use in the 1950s by musicians as a word to characterize someone’s knack for playing or singing idiosyncratically.[3] Castro claims that the term “bossa nova” might have first been used in public for a concert given in 1957 by the Grupo Universitário Hebraico do Brasil (University Hebrew Group of Brazil). The authorship of the term “bossa nova” is attributed to the (then) young journalist Moyses Fuks, who was promoting the event.[4] That group consisted of Sylvia Telles, Carlinhos Lyra, Nara Leão, Luizinho Eça, Roberto Menescal, et al. According to Mr. Fuks description, fully supported by most of the bossa nova members, he simply wrote a sign as “HOJE. SYLVIA TELLES E UM GRUPO BOSSA NOVA” ( meaning : Today. Sylvia Telles and a “Bossa Nova” group), because Sylvia Telles was the most famous musician in the group, at that time. In 1959, Nara Leão also participated in more than one embryonic display of bossa nova. This included the 1st Festival de Samba Session, conducted by the PUC’s (Pontifícia Universidade Católica) student union. This session was then chaired by Carlos Diegues, a law student that Leão ultimately married.(by wikipedia)

This a strange samüler, because I don´t know the artists … but it´s a good start to discover the wonderful world of Bossa Nova !


01. Wave (Jobim) 3.42
02. Ela é carioca (Jobim/DeMoraes) 2.45
03. Chega de saudade (Jobim/DeMoraes) 2.33
04. Corcovado (Jobim) 2.58
05. Desafinado (Mendonca/Jobim) 3.45
06. Samba de una nota so (Mendonca/Jobim) 3.02
07. Insensatez (Jobim/DeMoraes) 4.49
08. A felicidade (Jobim/DeMoraes) 3.25
09. Orecuso aprender a ser so (M.Valle/P.Valle) 2.33
10. Garota de Ipanema (Jobim/DeMoraes) 3.28
11. O barqhino (Mensescal/Boscoli) 2.58
12. Manha de carnival (Bonfa/Maria) 2.43
13. Minha Namorada (DeMoraes/Lyra) 4.00
14. Eu sei que vue te amar (Jobim/DeMoraes) 2.47




Herbie Mann – Latin Fever (1964)

frontcover1Latin Fever is an album by American jazz flautist Herbie Mann recorded for the Atlantic label and released in 1964. The album features tracks from the 1962 sessions that produced Do the Bossa Nova with Herbie Mann with more recent recordings. (by wikipedia)
Yes, other jazz musicians played Bossa Nova in the early sixties however, they jumped on the bandwagon after Herbie Mann began the craze. From the liner notes of Latin Fever originally recorded in 1964, “In recent years jazzman Herbie Mann has been recognized as the leading exponent and interpreter of the music emanating from Latin America. He traveled throughout Brazil before the music, which came to be known as the bossa nova, had yet to be exported, and on his return to the States, Mann introduced this musical goldmine to audiences in night clubs from New York to California.”
Herbie Mann was also one of the few who recorded with musicians from the particular region that piqued his musical interest. Latin Fever features such Brazilian luminaries as Sergio Mendes Antonio Carlos Jobim and guitarist Baden Powell.(piperglenn)

Recorded in Rio de Janeiro, Brazil on October 15, 1962 (track 8), October 16, 1962 (tracks 7 & 10), October 17, 1962 (track 5) & October 19, 1962 (track 9) and in New York City on October 8, 1963 (tracks 1-3 & 6) and January 29, 1964 (track 4)


Otavio Bailly Jr. (bass on 07. + 10.)
George Devens (vibraphone, percussion on 01. – 03, + 06.)
Durval Ferreira (guitar on 07. + 10.)
Gabriel (bass on 08.)
Paul Griffin (piano, organ on 01. -03., + 06.)
Antônio Carlos Jobim (piano, vocals on 05. + 09.)
Juquinha (drums on 08.)
Herbie Mann (flute)
Sérgio Mendes (piano on 07. + 10.)
Paulo Moura (saxophone on 07. + 10.)
Pedro Paulo (trumpet on 07. + 10.)
Baden Powell (guitar on 08.)
Dom Um Romão (drums on 07. + 10.)
Ernie Royal (trumpet on 01. – 03. + 06.)
Bill Suyker (guitar on 01 – 03. + 06.)
Clark Terry (trumpet on on 01. – 03. + 06.)
Bobby Thomas (drums)


01. Harlem Nocturne” (Earle Hagen, Dick Rogers) – 2:15
02. Fever (Cooley/Davenport) 1.52
03. Not Now – Later On (Sherman/Meade) 1.51
04. The Golden Striker (Lewis) 2.14
05. How Insensitive (Jobim) 3.04
06. You Came A Long Way from St. Louis (Brooks/Russell) 2.28
07. Batida Differente (Einhorn/Lelys) 5.12
08. Nana (Powell) 3.59
09. Groovy Samba (Mendes) 5.06
10. Influenza de Jazz (Lyra) 5.38

Bossa Três – Bossa Nova – Brazilian Jazz (1963)

OriginalFrontCover1The Bossa Três was the first instrumental group of the bossa nova. In 1961, Luís Carlos Vinhas (piano), Tião Neto (bass), and Edison Machado (drums) teamed up to form the trio. They went to the U.S. to accompany the dancers Lennie Dale, Martha Botelho, and Joe Benett on The Ed Sullivan Show.

They remained in the U.S. and recorded three albums in New York, which were released by Audio Fidelity in 1962 (one of them accompanying Jo Basile).

The group continued to perform in jazz nightclubs until its dissolution. Returning alone to Brazil, Vinhas regrouped the trio with other musicians and continued to work, recording and performing throughout Latin America. The Bossa Três recorded with Pery Ribeiro in 1966 and, in 2000, with Wanda Sá. (by Alvaro Neder)


The trio was formed in 1961 at Beco das Garrafas (Copacabana nightclub area), home of the bossa nova. Their debut gigs were at the Ed Sullivan Show, where they played for ballet dancers Lennie Dale, Joe Benett e Martha Botelho. Bossa 3 remained in the States for a few more years, performing at jazz clubs. The group broke up their Brazilian line up, and pianist Luis Carlos Vinhas, the only one who returned to Brazil, put Bossa 3 together again, this time with new musicians. They made other 5 albums, touring Latin countries.

And this is their debut album from 1963 … listen to a real wonderful album !


Edison Machado (drums)
Tiao Neto (bass)
Luis Parga (piano)


01. Blues Walk (Brown) 3.15
02. Ceu E Mar (Alf) 3.14
03. Green Dolphin Street (Washington/Kaper) 2.55
04. Menina Feia (Neves) 2.25
05. Sol E Chuva (Payne) 3.28
06. Olhou P’ra Mim (Lincoln) 2.47
07. Bossa 3 Theme (Neto) 2.41
08. Nao Faz Assim (Neves) 2.38
09. Somebody Loves Me (Gershwin) 3.23
10. So Saudade (Jobim) 2.08
11. Influencia do Jazz (Lyra)  2.47
12. Zelao (Ricardo) 3.21



Sergio Mendes – Quiet Nights (1967)

FrontCover1Eager to get on the Mendes bandwagon at the height of his hitmaking string with A&M, Philips issued this set of recordings from its Brazilian affiliate in 1968. We hear Mendes as a jazz-slanted proponent of the bossa nova, taking on a typical assortment of standards like “One Note Samba,” “Desafinado,” “Manha de Carnaval,” “Corcovado” and a few lesser-known tunes. Mendes’ gift for spare melodic improvisation is most evident here, yet he also seems a bit restrained and tentative, a young artist going with the prevalent style while still trying to find his own way. The backing personnel is not listed, but Mendes is clearly at home with a team of vibes, guitar, bass and drums, sometimes producing a Shearing-like texture with the vibraphone. In all, a typical, low-key bossa nova record from the boom period, not something that would excite those who bought it in 1968 expecting another “The Look of Love.” (by Richard S. Ginell)

This LP was not released in Brazil and was recorded in the USA, February, 1963, just before the anthological Carnegie Hall Show. This LP is FANTASTIC with Sergio backed up by Dave Pike. Eddie Higgins was invited by Dave Pike to play vibes on Insensatez, since Dave was unfamiliar with the harmony. The bass player was Tiao Neto, drumming is credited to Chico Batera. I spoke with Chico Batera to bring more clarification about this LP and Chico said that he did take part at the recording session and is quite sure that Edison Machado did it. The guitar player is still unknown. Hearing the acoustic guitar, it seems that Oscar Castro Neves or even Antonio Carlos Jobim would be playing. (by Caetano Rodrigues)

Chico Batera (drums)
Edison Machado (drums)
Sergio Mendes (piano)
Sebastiao Neto (bass)
David Pike (vibraphone)
an unknown guitar player
Eddie Higgins (vibraphone on 09.)

01. Desafinado (Jobim/Mendonça) 3.31
02. One Note Samba (Samba de Uma Nota Só) (Jobim/Mendonça) 3.31
03. Morning Of The Carnival (Manhã de Carnaval) (Bonfá/Maria) 3.47
04. Meditação (Meditation) (Jobim/Mendonça) 3.28
05. The Tower (Neto) 3.10
06. O Peixe (Traut) 3.05
07. Quiet Nights (Corcovado) (Jobim) 3.00
08. Só Danço Samba (Jobim/de Moraes) 2.13
09. Insensatez (How Insensitive) (Jobim/de Moraes) 3.21
10. Amor Em Paz (Love In Peace) (Jobim/de Moraes) 4.03
11. Infinity (Pike) 2.42
12. Abraço a Sergio (Higgins) 2.21


Gianni Ferrio – Lady Bossa Nova (1963)

FrontCover1Lady Bossa Nova In Italy’ – and instrumental bossa as well – an early jazz session cut by later soundtrack maestro Gianni Ferrio! This was the first Italian bossa nova LP produced. The set’s got all the sweet grooves you’d expect from a bossa nova date cut in Italy during the 60s – jazzy rhythms, dreamy instrumentation, and just a bit of vocals from singer Marina Moran – who’s the “lady” in the title, a singer with just the right gentle touch to match the spirit of the music. Players include Gino Marinacci on flute, Lino Cerveglieri on tenor, Berto Pisano on bass, and Biagio Marullo on trombone – and the work’s got a feel that’s nicely arranged, but still quite loose – that best extrapolation of Brazilian modes that surfaced in Italy during the 60s.

Arranged and conducted by Gianni Ferrio

Lino Cerveglieri (saxophone, keyboards)
Sergio Conti (drums)
Tino Fornai (violin)
Enzo Grillini (guitar)
Gino Marinacci (flute)
Biagio Marullo (trombone)
Marina Moran (vocals)
Berto Pisano (bass)
Anna Palumbo (harp)
Giuseppe Starita (percussion)
Maria Verzella (horns)

SanRemo1962Live at The Gianni Ferrio Orchestra: live inSan Remo (with Tony Renis on vocals) in 1962 with Orchestra Leader Gianni Ferrio in the foreground

01. Lady Bossa Nova (Ferrio/Fornai) 2.17
02. Barquinho (Leeds/Menescal/Boscoli) 2.38
03. Alba (Ferrio) 2.47
04. Non Mi Dire “Adeus” (Ferrio/Fornai) 2.02
05. Linea Del Ecuador (Ferrio) 2.42
06. Desafinado (Jobim) 3.23
07. Stanotte Come Ogni Notte (Ferrio) 2.12
08. Poche Parole (Ferrio/Fornai) 2.14
09. Ilha De Coral (Bonfá) 2.33
10. Un Desiderio Per L’Estate (Ferrio/Fornai) 2.26
11. Ao Cair Do Sol (Bonfá) 2.36
12. Samba Do Bom (Morais) 2.17

Marina Moran