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Bossa Nova - passport to Brazil

Bossa nova is performed on a classical guitar, played finger style (without a pick).

Bossa Nova, loosely translated from Portuguese means new flair. Two pioneers of this musical movement, the composer Antonio Carlos Jobim, and the singer/guitarist Joao Gilberto, helped bring Bossa Nova to the forefront of pop culture awareness in the early 1960s.

Bossa Nova : bossa nova and the rise of Brazilian music in the 1960s : original cover art
compiled by Giles Peterson, Stuart Baker.
London : Soul Jazz Records, 2010.
This deluxe hard-back book features hundreds of stunning full size record cover designs of Bossa Nova and Brazilian music from the 1960s. The book also comes complete with full accompanying text, essays and interviews on the historical, political and social context of this Brazilian music as well as features on all the important artists and musicians of the era such as Sergio Mendes, Tom Jobim, Jorge Ben, Elis Regina, Caetano Veloso and many more. Bossa Nova, born in Rio de Janeiro, became a worldwide musical phenomenon, quickly spreading to the USA and the rest of the world. Subsequent musical styles such as the rise of MPB (Musica Popular Brasileira) and Tropicalia are also featured in the book. Bossa Nova emerged at the end of the 1950s, the music (and glorious designs) reflecting a new period of great optimism in the country. Brazil had just elected a new president, a new five-year plan for prosperity had been laid down and the architect Oscar Niemeyer had drawn up his plans for the city of Brasilia. By 1964, as Bossa Nova was taking the world by storm, tanks rode through Rio as Brazil came under a violent military dictatorship that would oppress the lives of Brazilians for the next twenty years.
     
Acoustic Brazil
 
[S.l.] : Putumayo World Music, p2005.
  1. In Portugese.
  2. Performed by Gal Costa ; Paulinho da Viola ; Anna de Hollanda ; Márcio Faraco ; Teresa Cristina ; Chico Buarque ; Rita Ribeiro ; Caetano Veloso ; Mônica Salmaso ; Lucas Santtana ; Glaucia Nasser ; Lula Queiroga.
  3. Executive producer: Dan Storper.
  4. Compiled from previously released material ca. 1979-2004.
  5. Biographical and program notes (35 p. : ill.) by Jacob Edgar in English, Spanish and French inserted in container.
  6. Aquele frevo axé (Gal Costa) -- A voz do povo (Paulinho da Viola) -- Samba triste (Anna de Hollanda) -- Ciranda (Márcio Faraco) -- Meu mundo é hoje, eu sou assim (Teresa Cristina) -- Quando eu for eu vou sem pena (Chico Buarque) -- Tem quem queira (Rita Ribeiro) -- Cajuína (Caetano Veloso) -- Moro na roça (Mônica Salmaso) -- Mensagem de amor (Lucas Santtana) -- Lábios de cetim (Glaucia Nasser) -- Noite severina (Lula Queiroga).
     
Verdad tropical : música y revolución en Brasil
Caetano Veloso ; [traducción, Violeta Weinschelbaum].
Barcelona : Ediciones Salamandra, 2004.
  1. Translation of: Verdade tropical.
  2. Includes index.
     
Tropical truth : a story of music and revolution in Brazil
Caetano Veloso ; translated by Isabel de Sena ; edited by Barbara Einzig.
New York : Alfred A. Knopf : Distributed by Random House, 2002.
For almost 40 years, Veloso has been at the center of Brazilian culture, a beloved and iconic figure who has seen and done it all. Now, in this long-awaited memoir, he tells the amazing story of how he and a group of friends from the city of Bahia created a movement, "tropicalismo, " that shook Brazilian culture to its foundations. of photos.
     

In 1964, the song 'The Girl From Ipanema'  brought Bossa Nova to a wider audience.  Today, 'The Girl From Ipanema' is among the top five most played songs worldwide. During the 1960s U.S. jazz musicians were one of the first audiences outside of Brazil to embrace Bossa Nova. Many U.S. jazz musicians went on to record Bossa Nova albums, including Duke Ellington, Stan Getz, Oscar Peterson, and Cannonball Adderly. At the same time, artists such as Ella Fitzgerald and Frank Sinatra found a wide audience in Brazil. 

Bossa Nova dance steps

Can be done as a couple or single. If single, place one hand on stomach the other held high.

At the time of its creation and continued evolution, Bossa Nova was met with some criticism.  Its critics said that Bossa Nova was created by and for the wealthy.  In addition, the critics pointed to the lyrics as further evidence of their argument.  The words spoke of a care free lifestyle that was not representative of the way most Brazilians lived.  During the late 1950s and early 1960s, Brazil was going through major social and political changes.  As Bossa Nova reached the peak of its popularity, and then began to fade, Brazil's president left, and a military regime claimed control of the country for the next two decades.

However, Bossa Nova did not disappear completely.  Today, Bossa Nova is alive and healthy.  Bossa Nova's DNA is found in the music of contemporary singers and musicians, including Bebel Gilberto, Cibelle, Caetano Veloso, and Nelly Furtado.  Brazil is closer than you think.

Article by: St. Louis Public Library staff