Bossa Nova 2000
Angelique Syria
A rica sonoridade da bossa nova est bastante presente ao longo do filme mas funciona mais como um argumento turstico sobre o gnero misturando-a com mltiplas histrias de pretensa redeno romntica, num filme que surpreendeu mais pela fuso do elenco brasileiro com o americano, as diferenas lingusticas, os prprios clichs dum ensemble deste estilo e os toques exticos dos autnticos postais ilustrados em movimento do Rio de Janeiro. Funciona muito bem e deixa um bom feeling final.
Uma palavra de grande apreo pelas actores brasileiros nos principais papis pois so eles que mais fazem o filme brilhar.
7/10 Bom
ns amantes de toda a aura que envolve as novelas do manoel carlos, o rio de janeiro e bossa nova fomos muito agraciados com esse. melhor ainda foi ver que cada janela presente no filme dava de cara com o cristo redentor !
Um dos piores filmes comandado por Bruno Barreto.Se a inteno de trazer Amy Irving era alavancar a histria,a ideia foi usada muito mal.A trama no causa nenhuma reao.No engraada.No romntica.O elenco brasileiro se arriscando no ingls de rachar o bico.
Indeed, it does. With its hushed intimacy, poetic lyrics, alluring melodies, and mesmerizing rhythms, bossa nova music continues to cast a spell 60 years after it first came into the world. It possesses an ineffable quality that just seems to epitomize coolness, transcend time, and transport the listener to another place.
Superb review and history of an iconic sound. We forget that Bosa Nova swayed its way into pop culture, as well noted in your piece, as the British Rock Invasion arrived in the New World. Forever grateful that my dad left his jazz collection behind and I was happily exposed to the Getz collaborations that were truly masterful. Enjoyed reading and learning. Much thanks!
Nice article, but it left out a crucial component. Sid Frey of Audio Fidelity Records brought the major Brazilian bossa nova artists to a seminal concert at Carnegie Hall on Nov 21, 1962. Although there were complaints about the sound in the venue, the album is excellent, and this event brought the music to a significantly wider US audience.
Theorists, policy-makers, and musicians deploy music to build nations and states. In Music makes the nation (2008Curtis, Benjamin. 2008. Music makes the nation: nationalist composers and nation building in nineteenth-century Europe. Amherst, NY: Cambria.), Benjamin Curtis rejects the primordiality of national music. All national traditions are inventions, he argues. While his position hardly needs support in the current climate, I nevertheless provide a taste of the global context in which bossa nova and afrobeat emerged.
Jazz strongly influenced the African musical scene, particularly highlife (Olorunyami 2013: 216). This effect waxed during the swing band and big band jazz era (in the 1940s and 1950s), and waned when bebop and then free jazz moved away from metre and harmony. For West Africans, jazz meant large musical ensembles deploying horns, and any ensemble or genre relying on improvisation (Veal 2000Veal, Michael. 2000. Fela: the lives and times of an African musical icon. Philadelphia: Temple University Press.: 42).
Music and its rituals can be used to create a model whereby identity can be understood neither as a fixed essence nor as a vague and utterly contingent construction to be reinvented by the will and whim of aesthetes, symbolists, and language gamers.
Theorists of reification exhibit three tendencies: they locate errors in thinking that their analysis corrects; they sympathise with the reifying impulse, demonstrating its uses; and they balance these two poles. We can differentiate among theorists by where they place their emphasis.
There are not only fetishized commodities, but there is also fetishized power, fetishized sexuality, fetishized status. Just as the fetishism of commodities finds its theoretical expression in a reified political economy (or, to use a more contemporary term for this science, in reified economics), so the other species of fetishization are theoretically formulated and thereby mystified in reified political science, reified sociology, reified psychology, and even scientistic philosophy.
Our relationship with the social world is based upon the assumption that in spite of all individual variations the same objects are experienced by our fellow men in substantially the same way as by ourselves and vice versa, and also that our and their schemes of interpretation show the same typical structure of relevances. If this belief in the substantial identity of the intersubjective experience of the world breaks down, then the very possibility of establishing communication with our fellow men is destroyed (1982: 88).
In a remarkably prolific and consistently influential 25-year, 25-album recording career, renowned jazz guitarist/composer Pat Metheny has explored an impressively varied array of compositional approaches and instrumental formats. In the process, he's helped to redraw the boundaries of jazz.
Metheny's distinctively warm, lyrical guitar lines and accessibly melodic compositions have won the respect of rock fans as well as jazz loyalists. Though he's most familiar to the general public through his work with the four-man Pat Metheny Group, he's also recorded extensively in a wide variety of more experimental modes and with a multitude of esteemed collaborators.
The three albums that Metheny has released in the past year demonstrate his multifarious adventurousness. Trio 99>00 finds the Missouri-bred artist returning to the trio format with which he originally built his reputation in the 1970s, teaming with bassist Larry Grenadier and drummer Bill Stewart for a spare, inventive session incorporating elements of bossa nova, blues and bebop.
Meanwhile, the soundtrack album for the film A Map of the World features a subtle mix of guitar and chamber orchestra with an eloquently spacious feel that echoes the film's visual vistas and the musician's own Missouri upbringing. And last year's Jim Hall & Pat Metheny teamed Metheny with one of his guitar idols for a sterling set of unaccompanied duets.
As if those projects weren't enough to demonstrate the broad variety of Metheny's tastes and talents, he recently published "The Pat Metheny Songbook," a 400-page volume encompassing no less than 167 Metheny compositions.
"I got my first Ornette Coleman record when I was 11 years old [and] I put it right next to, you know, the Beach Boys record. . . . I really don't separate things. To me, music is kind of one big thing.
"Jazz is the all-inclusive form," Metheny recently told Time magazine. "There's room for everybody, for anything of true musical substance. Jazz guys like Duke Ellington or Miles Davis have always transformed the elements of the pop culture that surrounds us into something more sophisticated and hipper."
"Don't let that gentleness fool you," saxophonist Stan Getz wrote about the Brazilian singer-guitarist Joco Gilberto and his band, "these guys know how to swing harder than most, and they do it without pushing." The gentleness has been fooling a lot of people since the late '50s, when Gilberto started to record in his murmuring, conversational baritone the tunes that came to be called bossa nova. The songs and their presentation were revolutionary in Brazil, where the drum-driven samba was virtually the national dance. Influenced by North American jazz, Gilberto was making a cool, nuanced music that took off, as composer Antonio Jobim commented, "the excess of percussionists in Brazilian music." Using the harmonies and aura that typified the cool jazz of Gerry Mulligan and Stan Getz, Gilberto and Jobim tamed the wilder spirit of the samba, while maintaining something of its rhythmic complexity.
No wonder bossa nova was almost instantly successful in the United States: It sounded somehow familiar. Jobim's sweetly self-contained melodies were instantly memorable, their unimpassioned yearning sounded appealing in any language. If the folk samba was overtly sensual and driving, the bossa nova spoke wistfully of lost love or missed opportunities, almost serenely. The singer never talks to the girl from Ipanema. "Go my sadness, tell my beloved I can not live without her" is a translation of "Chega de Saudade's" opening. Yet the singer sounds calm, if not resigned. Not surprisingly, Gilberto's notes to his blockbuster hit album from 1963, "Getz/Gilberto," begin: "Peace is a beautiful feeling."
There is more than a peaceful feeling in Gilberto's new album, his first in almost a decade, and the first American-issued disc to feature solely his voice and guitar. Gilberto doesn't sound dated when he reprises his greatest hits, including "Desafinado" and "Chega de Saudade," on this intimate masterpiece of an album, whose only fault is that it is too short.
Gilberto's acoustic guitar sets the beat and he, as in the best jazz, sings gracefully around it and against it. He has a small range, and on Caetano Veloso's "Desde que o Samba e Samba" he both reaches downward for a long note and, barely hitting it, stretches upward. But he manages to make those moments touching, as are the measures where he suddenly adds a slow-moving vibrato to his usually pure tones. On "Joco Voz e Violco," Gilberto sings several new songs by Caetano Veloso, as well as previously known songs by Gilberto Gil and other top-notch Brazilian composers. He does so with his usual clear enunciation and lack of affectation: He might as well be singing to himself. On Marino Pinto's "Segredo," he descends to a whisper, but he also injects an appealing rhythm into his singing: His best vocals are as cleverly accented as a drum solo.
Gilberto was seen as an innovative figure in Brazil, and here, in the United States, as a conservative one, focused on melody and sweetly complex rhythms. Getz said that in the '60s Gilberto was important as a counter to the egomania of many contemporary jazz players, a common complaint about free jazz. I am not sure that Gilberto ever realized the irony of his reception here, where his music, beautiful in itself, came at a particularly apt moment in jazz history. Today, it sounds timeless.
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