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João Gilberto, Master Of Bossa Nova, Dies At 88



João Gilberto, one of the principal architects of the Brazilian musical style bossa nova, has died at his home in Rio de Janeiro, according to a Facebook post by his son. João Marcelo Gilberto wrote that his father, who was 88 years old, died following an undisclosed illness. 
João Gilberto is credited some with writing the first bossa nova,or new beat. This mid-20th century musical gift to the world drew on Brazil's African-influenced samba tradition, but was performed without the usual battery of drums and rhythm instruments, and at much lower volumes. Gilberto's intimate and nuanced style of guitar playing and singing, eventually central to the bossa nova sound, were reportedly developed in 1955 when he sequestered himself inside of a bathroom at his sister's house so as not to disturb her family and to take advantage of the acoustics provided by the bathroom tiles.
In the mid-1950s, Brazil was in the midst of a post-WWII modernization inspired by a new president who wished to move the country out of third world economic status. Gilberto's "Bim-Bom," often named as the first bossa nova song, came from that period, and soon thereafter, the style began to sweep Rio's cafe's and bars. Bossa nova's sophisticated sound became popular with a new moneyed class eager to move away from the more traditional samba sound of explosive drums and group singing. Rio de Janeiro was ground zero of the country's cultural explosion; Gilberto, composer Antonio Carlos Jobim and poet Vinicius de Moraes were the key architects of a culture shift that forever changed their country's musical point of reference.
The breakthrough came just before the end of the decade. In 1958 Jobim and de Moraes had collaborated on a recording of the song "Chege de Saudade" by another vocalist, but the song didn't become a phenomenon until Gilberto's version, with his softly percussive finger picking technique on an acoustic guitar and breathy vocals that matched the soft curves of the music. Gilberto's version became a hit in Rio and internationally, and launched the bossa nova movement.
Brazilian born pianist Jovino Santos Neto described the influence Gilberto's technique had on the music of that era as profound. "His uncanny ablity to syncopate his vocal delivery, while keeping a simple groove was his trademark sound," Neto wrote to NPR from his home in California. "Several others tried to imitate him, with no success".
Over three years Gilberto recorded three albums that were the blueprints for a musical revolution: Chega de Saudade (Odeon, 1959), O Amor, o Sorriso e a Flor(Odeon, 1960), and João Gilberto (Odeon, 1961).
In 1961 the U.S. State Department had organized one of its goodwill musical ambassador tours to Rio and jazz guitarist Charlie Byrd caught some of the music and took the style back home, where he shared it with jazz saxophonist Stan Getz. Their 1962 album Jazz Samba was an immediate success in the US. The next year, Getz invited Gilberto to record together. The resulting album, Getz/Gilberto,featured compositions by the Jobim/de Moraes writing team, many of which became jazz standards over the decades, including "Corcovado," "Desafinado" and "Doralice."

The album's breakout hit featured Gilberto's then-wife Astrud on a sultry vocal of the song "Garota de Ipanema (Girl From Ipanema)." João sang the lyrics in Portuguese, Astrud repeated them in English and Getz added an now-iconic tenor sax solo. It was a worldwide hit and won the 1965 Grammy for record of the year. Getz/Gilberto won album of the year and would go on to become one of the highest-selling jazz albums of all time, helping to cement bossa nova's soft, lulling beats and intimate vocals across the global musical landscape.
Story courtesy of WBGO - the greatest Jazz station out there. See for yourself:
https://www.wbgo.org/#stream/0


Sunday morning open roads and more


Here are some more roads 
you can travel down on another beautiful Summer Sunday Morning.


Let your mind wander but don't concentrate on just the road at all. Focus on the Journey itself.











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If, for any reason, you don't get what I'm trying to portray here with all this symbolic metaphorical stuff, I'll leave you with this...


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Bouncing and bumping along merrily...

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