Musicians Born In 1973

Musicians Born In 1973 – In this Portuguese name, the first or maternal surname is Brasileiro de Almeida and the second or paternal surname is Jobim.

Antonio Carlos Brasileiro de Alameda Jobim (25 January 1927 – 8 December 1994), also known as Tom Jobim (Portuguese pronunciation: [tõ ʒoˈbĩ]), was a Brazilian composer, pianist, guitarist, singer, arranger and singer. and Jobim, considered one of the greatest exponents of Brazilian music, internationalized bossa nova and, with the help of important American artists, combined it with jazz in the 1960s to create a new sound, with popular success. As a result, he is sometimes referred to as the “Father of Bossa Nova”.

Musicians Born In 1973

Jobim was the primary force behind the creation of the bossa nova style, and his songs have been performed internationally by many singers and instrumentalists since the early 1960s.

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In 1965, the album Getz/Gilberto was the first jazz recording to win a Grammy Award for Album of the Year. It also won Best Jazz Instagram Album – Individual or Group and Best Genre Album, Non-Classical. The album’s single “Garota de Ipanema (Girl from Ipanema)”, composed by Jobim, is one of the most recorded songs of all time, and won Album of the Year. Jobim composed many songs that are now included on jazz and pop standard records. “Garota de Ipanema” has been recorded 240 times by other artists.

His 1967 album, featuring Frank Sinatra, Francis Albert Sinatra and Antonio Carlos Jobim, was nominated for Album of the Year in 1968.

Antonio Carlos Jobim was born in the middle-class district of Tijuca in Rio de Janeiro. His father, Jorge de Oliveira Jobim (São Gabriel, Rio Grande do Sul; 1889–1935), was a writer, diplomat, professor and journalist. He comes from a distinguished family, being the great-nephew of José Martínez da Cruz Jobim,

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Brasileiro de Almeida was only 16 years old when she was born to Antonio Carlos Jobim on Rua Conde de Bonfim in Tijuca.

While studying medicine in Europe, José Martínez added Jobim to his surname, in honor of the village where his family came from in Portugal, the parish of Santa Cruz de Jovim, Porto.

When Antonio was still a child, his parts were separated and his mother moved with her child (Antonio Carlos and his sister Hela Asura, born on February 23, 1931) to Ipanema, a beach neighborhood in which the composer would later live. Celebrate in your songs. In 1935, when Elder Jobim died, Nelza married Celso da Fruita Pesua (died February 2, 1979), who would take up his sutra career. He was the one who gave Jobim his first piano. Jobim credits his stepfather with encouraging him to pursue music. In a 1981 interview with Roberto Davila, he said: “I hated the piano, I thought it was a beautiful thing, I liked to play football… I was a good stepfather who “It really helped me get involved in music. convinced me that the piano is not a girl.”

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As a young man of limited means, Jobim earned his living playing in nightclubs and bars and later as an arranger for a record label before achieving success as a musician.

Later in an interview with Roberto d’Avila, Jobim talks about his feelings about his training. He recalls a conversation he had with his father, Erico Verissimo Fred, where Verissimo said that Tom Jobim was tired of his father’s absence from a young age. Jobim told Dávila: “I was left without a father, clinging to my mother’s pieces… Some [m] have ‘too many’ fathers, too much father authority is a problem, but the absence of ‘ A father is also a problem. “

Jobim continued with d’Avila, sharing that it takes a great influence to bring someone to dedicate their life to music. “People who play the piano well are all disabled,” he said. He mentions the health problems of both Sergio Medes, who had osteomyelitis, and Luis Ica, who had polio. “It takes something very strong to make you leave reality and start writing songs,” Jobim shared. With d’Avila, he points to his sadness as a young man as the force that motivated him to develop his pursuit in music, that he had to be sad to play the piano and write. He concludes with d’Avila saying that at that time in his life (an interview that took place in 1981) he no longer needed depression to create music, that he was no longer sad, as it was in the beginning wash. His profession.

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Jobim’s musical roots are firmly planted in the work of Pixinguinha, the famous musician and composer who introduced modern Brazilian music in the 1930s. Among his teachers were Lucia Branco and, from 1941, Hans-Joachim Kuelreuter, a German composer who lived in Brazil and introduced chordal and twelve-tone composition to the country. Jobim’s mother built a school where Jobim would start piano lessons. This is what he will meet with Koellreutter.

Jobim was also influenced by the French composers Claude Debussy and Maurice Raoul, and by the Brazilian composers Ari Barroso and Heiter Villa-Lobos, who have been described as Jobim’s “most important musical influences”.

Among many topics, his songs talk about love, self-discovery, betrayal, happiness and especially the birds and natural wonders of Brazil, such as the “Mata Atlantica” forest, Brazilian folklore characters and his home city of Rio de Janeiro. In a 1986 segment on NBC’s Today show, hosted by Gene Pauley, Jobim spoke about the sources of his musical inspiration, “My music comes from this universe, you know, the rain, the sun, Trees, birds, fish.”

Daily Express, May 17, 1973

In the 1940s, Jobim began playing the piano in the bars and nightclubs of Rio de Janeiro, and in the early 1950s he worked as an arranger at Continental Studios, where he started in 1953. Recorded his first composition in April. Brazilian singer Morsi Mora recorded Jobim’s composition Incerteza with lyrics by Newton Madonsa.

Jobim became famous in Brazil when he teamed up with the poet and diplomat Vinicius de Moris to write the music for the play Orfeo da Concio (1956). The show’s most popular song is “Se Todos Fossem Iguais A Você” (“If Everyone Was Like You”). Later, when the piece was adapted into a film, producer Sacha Gardin did not want to use existing music from the play. Gordon asked Morris and Jobim for a new score for the film Orfeo Negro or Black Orpheus (1959). Morris was in Montevideo, Uruguay at the time, working for Atamarati (Brazil’s Ministry of Foreign Affairs) and therefore he and Jobim could only write three songs over the phone (“A Felicidade”, “Frivo” and “O Noso Amor”) . The collaboration was successful, with DeMaurice singing the lyrics to some of Jobim’s most popular songs.

In 1958, Brazilian singer and guitarist Joao Gilberto recorded his first album with two of Jobim’s most popular songs, “Desafinado” and “Chiga de Soda”. This album launched the bossa nova movement in Brazil. The complex harmonies of his songs attracted the attention of jazz musicians in the United States, mainly after his first performance at Carnegie Hall in 1962.

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A major contribution to the recognition of Jobim’s music in the English-speaking world was his collaboration with the American jazz saxophonist Stan Getz, the Brazilian singer Joao Gilberto and Gilberto’s wife Astrid Gilberto, which led to two albums, Getz/Gilberto. (1963) and Getz/Gilberto Wall. 2 (1964). The Getz/Gilberto release started the bossa nova craze in the US and later internationally. Getz previously recorded Jazz Samba with Charlie Byrd (1962) and Jazz Samba Home! With Luiz Bonfá (1964). Jobim wrote many of the songs on Getz/Gilberto, which was one of the best-selling jazz albums of all time, and Astrid became Gilberto, with the songs “Garota de Ipanema” (Girl from Ipanema) and “Corcovado” (Silence). He sang. Nights of Silent Stars) at an international meeting. At the 1965 Grammy Awards, Getz/Gilberto won the Grammy Award for Album of the Year, the Grammy Award for Best Jazz Album, Individual or Group, and the Grammy Award for Best Genre Album, Non-Classical. “Girl from Ipanema” won the Grammy Award for Record of the Year. Among his last hits is “Aguas de Maro” (Waters of March, 1972), for which he wrote both Portuguese and Galician lyrics, and which George Moustaki (Les Eux de Mars, 1973) translated into French by

When talking about his creative process for writing and creating The Girl from Ipanema, Jobim told Roberto Davila in 1981: “It comes in a way that it changes once or twice, it changes a little sse . .. It’s like a woman’s profile … a woman’s profile, a little more noticeable, that you say, ‘Hey, that’s really pretty…’ what you see and when you see it, it’s gone. Done, I mean a part of the past.

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