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Remembering Laurindo Almeida, born on this day in 1917.
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Celebrating Laurindo Almeida: The Bridge Between Bossa Nova and Classical Jazz
On this day, we celebrate the birth of a true pioneer whose strings resonated across genres and continents. Laurindo Almeida, born on September 2, 1917, in Miracatu, Brazil, was not just a guitarist; he was a visionary artist who effortlessly blurred the lines between classical music, jazz, and the indigenous sounds of his homeland, ultimately helping to lay the groundwork for a global musical phenomenon.
Almeida’s journey began in the heart of Brazil. A child prodigy, he was largely self-taught, developing a formidable technique by listening to and emulating the great Spanish and Brazilian guitarists on the radio. His early career was spent performing on Brazilian radio stations and, later, as a member of the Brazilian Navy Band. However, it was his move to the United States in 1947 that set the stage for his international legacy.
The Stan Kenton Years and a New Sonic Landscape
Almeida’s formidable talent quickly caught the ear of bandleader and innovator Stan Kenton. Joining Kenton’s progressive orchestra, Almeida became the first guitarist to bring the authentic sound of the nylon-string classical guitar into a major American big band. This was a radical departure from the electric guitar sound prevalent in jazz at the time. His sophisticated, warm tone and intricate, harmonically rich solos added a new, lush dimension to Kenton’s ambitious compositions, earning him widespread acclaim and his first Grammy Awards.
The Birth of Bossa Nova: The “Sessions” with Bud Shank
While his work with Kenton was groundbreaking, Almeida’s most enduring contribution to music history began almost by accident in a Los Angeles recording studio in 1953. Teaming up with saxophonist Bud Shank, bassist Harry Babasin, and drummer Roy Harte, Almeida began a series of informal recording sessions.
The result was the album Brazilliance, Vol. 1. This music was revolutionary. Almeida blended the complex rhythms of the Brazilian samba with the harmonic and improvisational language of cool jazz. He was, in essence, creating a new genre years before it had a name. This sound—a captivating dialogue between Shank’s airy saxophone flute and Almeida’s rhythmically precise, melodically sweet guitar—was the direct precursor to what the world would later know as bossa nova.
When João Gilberto and Antônio Carlos Jobim ignited the global Bossa Nova explosion with “The Girl from Ipanema” in the early 1960s, critics and musicians looked back and recognized Almeida and Shank’s “Sessions” as the prophetic beginning of it all. Almeida wasn’t just a participant in a trend; he was one of its primary architects.
A Master of All Trades
Laurindo Almeida’s genius could not be confined to a single genre. He was a peerless classical guitarist and interpreter, recording definitive versions of works by Heitor Villa-Lobos, Isaac Albéniz, and Enrique Granados. His technical mastery and profound musicality made him a sought-after session musician in Hollywood, and his guitar can be heard on the soundtracks of hundreds of films and television shows, from The Godfather to Breakfast at Tiffany’s.
His career is marked by an astounding five Grammy Awards, won across three different categories—a testament to his versatility:
- Best Engineered Classical Recording (1960)
- Best Chamber Music Performance (1960, 1961)
- Best Jazz Performance – Soloist or Small Group (1973, 1974)
A Legacy Carved in Nylon
Laurindo Almeida passed away on July 26, 1995, but his music remains a vibrant and influential force. He was a musician’s musician—a master craftsman who treated the guitar with reverence and intellectual curiosity. He demonstrated that the traditional classical guitar had a vital and expressive place in the modern worlds of jazz and popular music.
More than anything, Almeida was a bridge. He connected the rich musical heritage of Brazil with the innovative spirit of American jazz, creating a new musical dialect that continues to enchant listeners around the world. On his birthday, we remember and celebrate the quiet genius whose strings forever changed the sound of twentieth-century music.
Happy birthday, Maestro Almeida.
Broadway Solo Guitar Guitar from Ipanema Laurindo Almeida
Track List:
A1 People
Music By – Bob Merrill, Jule Styne
3:09
A2 My Funny Valentine
Music By – Rodgers & Hart
3:28
A3 As Long As He Needs Me
Music By – Lionel Bart
2:18
A4 I’ve Grown Accustomed To Her Face
Music By – Alan Jay Lerner And Frederick Loewe*
2:38
A5 Is It Really Me?
Music By – Harvey Schmidt, Tom Jones (5)
2:28
A6 Smoke Gets In Your Eyes
Music By – Jerome Kern, Otto Harbach
2:48
B1 Little Girl Blue
Music By – Rodgers & Hart
3:19
B2 What Kind Of Fool Am I?
Music By – Anthony Newley, Leslie Bricusse
3:13
B3 Was She Prettier Than I?
Music By – Hugh Martin, Timothy Gray
2:37
B4 The Sound Of Music
Music By – Rodgers & Hammerstein
3:41
B5 The Most Beautiful Girl In The World
Music By – Rodgers & Hart
3:03