![]() And it was a big thing, you know? Bossa nova was already well established in the U.S. And we played at Carnegie Hall in November 22, 1962. JOBIM: I was - let me see - I was about 20, 25, 28. GROSS: And how old were you when you started writing it? GROSS: So who are the people who really love this new music? As you well know, you know, I love, you know, American music, you know, and Gerry Mulligan and Stan Getz and Chet Baker and, you know, so many - so many, you know? My list - you know, Dizzy Gillespie, Billy Taylor, so - George Shearing - so many guys that you have here that - and they play bossa nova so well, you know? They can play anything, you know? ![]() We have in Brazil - here, I don't know - we have no bastards, you know, because this - every child - every son is legitimate. ![]() GROSS: Yeah, but at the time, calling it Jazz made it seem like a bastard kind of form of Brazilian music. Now we can say that bossa nova is very much - you know, can be called jazz, you know, because everything that swings, you know, we call jazz - like, you know, Latin jazz, Caribbean jazz, Brazilian jazz, Cuban jazz. JOBIM: Well - how do you say? - the puritans, you know, the purists - you know, the guys that used to write about the traditional sound, you know? They thought that this was Americanized, you know, which is not true, you know. GROSS: (Laughter) So who was angry at this new music? Who didn't like it? JOBIM: It was more like the cool jazz, you know, at that time, you know, with less - how do you say? - economic, concise, succinct, to the point, you know, to avoid too many beats, too many notes, you know? This kind of music that was called, you know, revolutionary, you know? As Stravinsky said, you know, a complete revolution, you know, you'll come exactly to the same point. What was the revolution about? What made it so different from the music that had been played and sung before? I think when you started writing bossa novas, the bossa nova was seen as a pretty revolutionary music form. GROSS: This was a woman you knew and still know? And it was very, very nice, you know? And she - she's still a beautiful woman, you know? The other day, I saw her. The sea was so blue, green, you know, with the fish and the beautiful girls. And the sand was so clean, you know, fine. And she used to pass by, you know, go to the beach, you know? Ipanema, Ipanema was a beautiful place. Do you have any memories of writing "Girl From Ipanema"?ĪNTONIO CARLOS JOBIM: Yes, that was long ago (laughter). TERRY GROSS, BYLINE: Antonio Carlos Jobim, welcome to FRESH AIR. And when she passes, each one she passes goes, ah. (SOUNDBITE OF SONG, "THE GIRL FROM IPANEMA")ĪSTRUD GILBERTO: (Singing) Tall and tanned and young and lovely. Guitarist Joao Gilberto sang in Portuguese. ![]() The 1964 Stan Getz album, "Getz/Gilberto," helped launch the bossa nova craze in the U.S. He wrote "Desafinado," "Wave," "One Note Samba," "How Insensitive" and many other bossa novas, which endured long enough to become pop and jazz standards. In 1988, Terry spoke with Brazilian composer Antonio Carlos Jobim. And we're listening to some of our favorite interviews from the early days of our national daily broadcasts. You and your customers won't even notice the difference.This is FRESH AIR. Hal Leonard is very proud to present the first legitimate and legal editions of these books ever produced. The problem is that the books were illegally produced and distributed without any copyrights or royalties paid to the master composers who created these musical canons. Since the 1970s, musicians have trusted these volumes to get them through every gig, night after night. The Real Books are the best-selling jazz books of all time. Piano/Keyboard Controllers & Accessories.Complete List of Aebersold Play-A-Longs. ![]()
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