Antonio Carlos Jobim

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    Antonio Carlos Jobim

    Já foi dito que Antonio Carlos Brasileiro de Almeida Jobim foi o George Gershwin do Brasil – e há um sólido anel de verdade nisso, pois ambos contribuíram com grandes volumes de canções para o repertório de jazz, ambos expandiram o seu alcance para a sala de concerto, e ambos tendem a simbolizar os seus países aos olhos do resto do mundo.

    Com as suas melodias e harmonias graciosamente urbanas e sensuais, as canções de Jobim deram aos músicos de jazz da década de 1960 uma alternativa tranquila e surpreendentemente original à sua fonte tradicional de Tin Pan Alley.

    jobim free sheet music pdf

    As raízes de Jobim sempre estiveram firmemente plantadas no jazz; os discos de Gerry Mulligan, Chet Baker, Barney Kessel e outros músicos de jazz da Costa Oeste causaram um enorme impacto sobre ele na década de 1950. Mas ele também afirmou que o compositor impressionista francês Claude Debussy teve uma influência decisiva nas suas harmonias, e o samba brasileiro deu à sua música um suporte rítmico exótico único.

    Como pianista, ele geralmente mantinha as coisas simples e melódicas, com um toque que lembra Claude Thornhill, mas alguns dos seus discos mostram que ele também podia se alongar quando tinha espaço.

    O seu violão limitava-se principalmente a dedilhar suavemente os ritmos sincopados, e ele cantava de maneira modesta, ligeiramente rouca, mas muitas vezes assustadoramente emocional.

    Nascido no bairro da Tijuca, no Rio, Jobim originalmente pretendia seguir a carreira de arquiteto. No entanto, quando ele completou 20 anos, a atração pela música era muito poderosa, então ele começou a tocar piano em boates e a trabalhar em estúdios de gravação.

    Ele fez o seu primeiro disco em 1954 como backing vocal Bill Farr como o líder de “Tom and His Band” (Tom era o apelido de Jobim ao longo da vida), e ele alcançou a fama pela primeira vez em 1956 quando se juntou ao poeta Vinicius de Morales para fornecer parte da trilha sonora para uma peça chamada Manhà do Carnaval (mais tarde transformada no famoso filme Orfeu Negro).

    In 1958, the then-unknown Brazilian singer Joao Gilberto recorded some of Jobim’s songs, which had the effect of launching the phenomenon known as bossa nova.

    A descoberta de Jobim fora do Brasil ocorreu em 1962, quando Stan Getz e Charlie Byrd fizeram um sucesso surpresa com sua música “Desafinado” – e mais tarde naquele ano, ele e vários outros músicos brasileiros foram convidados a participar de um showcase no Carnegie Hall. Impulsionada pelas canções de Jobim, a bossa nova tornou-se uma moda internacional, e os músicos de jazz entraram na onda gravando álbum após álbum de bossa nova até que a tendência perdeu força comercial no final dos anos 60.

    O próprio Jobim preferiu os estúdios de gravação às turnês, fazendo vários álbuns encantadores da sua música como pianista, guitarrista e cantor para Verve, Warner Bros., Discovery, A&M, CTI e MCA nos anos 60 e 70, e Verve novamente na última década da sua vida. Logo no início, ele começou a colaborar com o arranjador/regente Claus Ogerman, cujas paradas sutis, acariciantes e ocasionalmente melancólicas deram a seus discos um ambiente assombroso.

    Quando a música brasileira estava no seu eclipse americano após os anos 60, vítima da superexposição e da crescente revolução do rock, Jobim recuou mais para o segundo plano, concentrando muita energia em trilhas sonoras de filmes e TV no Brasil. Mas em 1985, com a ideia de world music e uma segunda onda brasileira ganhando força, Jobim voltou a fazer turnês com um grupo formado por sua segunda esposa Ana Lontra, seu filho Paulo, filha Elizabeth e vários amigos músicos.

    Na época dos seus últimos shows no Brasil em setembro de 1993 e no Carnegie Hall em abril de 1994 (ambos disponíveis no Verve), Jobim finalmente estava a receber o reconhecimento universal que merecia, e uma infinidade de álbuns de tributo e shows se seguiram a sua morte repentina na cidade de Nova York de insuficiência cardíaca. A reputação de Jobim como um dos grandes compositores do século está agora assegurada, principalmente na cena do jazz, onde todas as outras apresentações parecem conter pelo menos uma bossa nova.

    Composer Antonio Carlos Jobim AKA Tom Jobim was born on January 25, 1927 in Tijuca, Rio de Janeiro, Brazil. He showed a natural curiosity towards music early on and at age 13 he discovered an old piano in his parents’ school and started experimenting with sounds and notes. Although he took some private piano lessons he was for the most part self-taught. At age 20 he gave up on his original plans to become an architect and devoted himself completely to music.

    Começou a sua carreira em 1952 tocando piano em pequenos cafés da cidade. As suas primeiras influências musicais incluíram o lendário compositor Pixinguinha, Claude Debussy e o jazz. Em 1954 gravou o seu primeiro disco com a sua banda chamada “Tom and His Band” com o cantor Bill Farr.

    No mesmo ano foi aprendiz do arranjador Radamés Gnatali com quem aprendeu os rudimentos de arranjador e mudou de carreira e por um tempo tornou-se arranjador de cantores locais. Em 1956, colaborou com o poeta e diplomata Vinicius de Moraes numa opereta intitulada Orfeo do Carnaval, que estreou com grande sucesso no Metropolitan Opera House, no Rio.

    O diretor francês Marcel Camus o transferiu para a tela grande sob o título Orfeu Negro. O filme foi homenageado no Festival de Cannes com a Palma de Ouro em 1959. O seu primeiro sucesso foi Felicidade desta opereta. A canção ganhou imensa popularidade quando Billy Eckstine adicionou letras em inglês a ela no final dos anos 1950. Moraes e Jobim também se uniram em outros sucessos, como Garota de Ipanema e Água de Beber, entre outros.

    Em 1958, o guitarrista e vocalista brasileiro João Gilberto lançou um disco com canções de Jobim que marcaram o início do fenómeno da bossa nova. O ano de 1962 marcou uma mudança importante na carreira de Jobim, quando ele estourou no cenário mundial depois que Stan Getz popularizou a sua música ‘Desafinado’. Ele e os seus colegas foram convidados para se apresentar no Carnegie Hall e a popularidade da bossa nova descolou.

    De 1962 até o final dos anos 60 vários músicos de jazz gravaram inúmeros discos de bossa nova. O próprio Jobim, além de se tornar um dos compositores mais gravados, gravou vários discos para diversas gravadoras, muitas vezes em colaboração com Claus Ogerman. As décadas de 1970 e 80 marcaram uma época de baixa popularidade do jazz e da música brasileira devido à explosão do rock.

    Jobim voltou ao Brasil e trabalhou em trilhas para TV e cinema. Em 1985, embora a bossa nova e a música brasileira tenham experimentado um renascimento, Jobim começou a fazer turnês novamente alguns meses antes da sua morte na cidade de Nova York de insuficiência cardíaca em 8 de dezembro de 1994.

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    Tom Jobim Live Concert 1986, Festival International de Jazz de Montréal, Canada (Ao vivo em Montreal)

    Track List:

    4:06 Água de Beber 7:34 Chega de Saudade 11:40 Two Kites 16:27 Wave (Instrumental) 19:26 Borzeguim 24:04 Falando de amor 27:22 Gabriela 36:27 A Felicidade 40:59 Samba do Avião 44:39 Waters of March 48:57 Girl from Ipanema/Garota de Ipanema 53:27 Canção do Exílio/Samba de Uma Nota Só

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