Personnel:
João Gilberto (g, vcl), Antonio Carlos Jobim, Walter Wanderley (arr, dir), Nicolino Cópia 'Copinha' (fl), Edmundo Maciel (tb), Milton Banana (d), Juquinha, Rubens Bassini, Guarany (perc), Milton, Acyr, Edgardo (vcl)
Reference: UBCD 314
Bar code: 8427328123143
3 original albums + extra tracks in just 1 CD
The most comprehensive compilation of his first recordings, including 20-page booklet with original art work, album liner notes and all the lyrics, presented in a nice Digipack format.
Without question, these are the songs who started the Bossa Nova craze worldwide.
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In summer 1958, João Gilberto -an unknown 28 year-old Brazilian guitarist and singer from Bahia- made his recording debut as a singer with two songs "Chega de Saudade" and "Bim Bom." With a new rhythmic feeling, batida, and rich harmonies he laid the basis of the modern Brazilian samba, now known as Bossa Nova. Underpinned by his insouciantly swinging guitar, João's seductive, vibratoless vocals caressed both ear and soul in a mesmerizing, highly addictive combination, refreshing and modern. Chega de Saudade was a hit, launching Gilberto's career and the bossa nova craze. Soon, singers and guitarists were trying to imitate him and composers were all on a Desafinado (the second Gilberto's hit) and Chega de Saudade kick. The long awaited renewal of the Brazilian samba was now a fact. Antonio Carlos Jobim said: Gilberto appeared as a light, as a big star in the firmament, in the heavens. He became a focus, because he was pulling the guitar in one way and singing the other way, which created a third thing that was profound. Yes, the guy who brought the Bossa Nova beat to the world was João Gilberto.
"The Warm World of João Gilberto: The Man Who Invented Bossa Nova, features three sensational and highly influential bossa nova albums by João Gilberto. The set's title is a little misleading. Gilberto wasn't the inventor of the bossa nova. That title belongs to composers and singer-guitarists Carlos Lyra and Roberto Menescal. They began developing the warm instrumental and vocal style at Rio de Janeiro's hotel clubs in the late 1950s. But Gilberto was certainly the singer-guitarist who popularized the bossa nova with a voice and sensitive as soft as crushed velvet.
The three albums in this set are Chega de Saudade (1959), O Amor, o Sorriso e a Flor (1960) and João Gilberto (1961). Gilberto wasn't a prolific composer but he was the bossa nova's first and dominant interpreter. His touch on the guitar and whispered voice gave the bossa nova commercial sensuality. The first album was a monumental bestseller in Brazil, with Gilberto's interpretations of songs by Antônio Carlos Jobim and Vinícius de Moraes, Carlos Lyra and Ronaldo Bôscoli, Dorival Caymmi and others. The record primed the pump for the bossa nova craze that hit the U.S. beginning with Stan Getz's Jazz Samba in 1962.
For years, all three Gilberto albums have been almost impossible to find on vinyl. Now they have been given a 24-bit restoration and they sound terrific. There are no bad tracks here, and you can listen from start to finish without touching your digital player."
—Marc Myers (May 10, 2022)
https://www.jazzwax.com
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The poet Vinicius de Moraes pointed out that the bossa nova movement began after his first songs with Antonio Carlos Jobim appeared in the 1958 album Cançao do Amor Demais, sung by Elizete Cardoso and played by an unknown 28 year-old guitarist from Baia named João Gilberto. He accompanied the singer (in two songs Chega de Saudade and Outra vez) with a new rhythmic feeling, batida, and with rich harmonies that would become the trademark of the modern Brazilian samba, which became known as Bossa Nova.
Shortly after this recording, João Gilberto made his own debut single with a 78rpm record including Chega de Saudade and Bim Bom. The success in São Paulo swelled to Rio and the song title turned into a national hit, launching Gilbertos career and the bossa nova craze. A star was born. His first Odeon LP, Chega de Saudade, appeared in 1959 and was followed by two more O Amor, O Sorriso e a Flor (1960) and João Gilberto (1961). In each the singer featured older sambas and popular songs from the 1940s and 50s, and new songs by a younger generation of performer / composers such as Carlos Lyra and Roberto Menescal, all performed in Gilbertos distinctive style. His seductive, vibratoless vocals caressed both the ear and the soul, underpinned by his insouciantly swinging guitar in a mesmerizing, highly addictive combination, refreshing and modern.
Soon, singers and guitarists were trying to imitate him and composers were all on the Desafinado (the second Gilbertos hit) and Chega de Saudade kick. The long-awaited renewal of the Brazilian samba was now a fact. Antonio Carlos Jobim said: Gilberto appeared as a light, as a big star in the firmament, in the heavens. He became a focus, because he was pulling the guitar in one way and singing the other way, which created a third thing that was profound. Yes, the guy who brought the Bossa Nova beat to the world was João Gilberto.
By 1962, bossa nova had been embraced by North American jazz musicians like Herbie Mann, Charlie Byrd, and Stan Getz. During that year and 1963, when Bossa Nova was a musical fad in United States, the three João Gilberto albums were released in the United States by Atlantic and Capitol Records to popular acclaim.
In his native country The Father of Bossa Nova, João Gilberto, is called O Mito (The Myth). In its mixture of affection and respect it is an apt, well-deserved nickname for the one who opened a new page in the history of popular music.
—Jordi Pujol
