#Bossa nova movie

The expression had lingered in musical circles from the early 1930s. This one became known as ‘Bossa Nova.’ ‘Bossa’ in Brazilian Portuguese was slang referring to an act (or trend) done with an innate charm and natural flair. Popular new musical styles require a name. The film was released in December of 1959 and found its way to America, and the soundtrack was a hit. The soundtrack was performed by guitarist Antonio Carlos Jobim including ‘Manha de Carnaval’ by Lois Bonfa (m) and Antonio Maria (w) and ‘A Felicidade’ by Jobim (m) and Vinicius de Moraes (w). The new musical style had exactly the combination of street grit and timeless sophistication.

The Brazilian title was “Orfeu Negro” The American title was “Black Orpheus”.

#Bossa nova movie

The music was simple, powerful, and new.įrench Director Marcel Camus was in Brazil at the time making a movie of the story of Orpheus & Eurydice re-told in the context of a favela in current-day Rio De Janeiro during Carnaval. There was something about the composition that implied string accompaniment but simply focused on the nylon string guitar. It was rich without unnecessary embellishments. It wasn’t exactly samba but it wasn’t exactly folk either. The fresh-sounding recording included Gilberto’s fingerstyle playing on nylon string guitar and simple voice accompaniment. The musical landscape was rich and fertile.Ī young and fiercely talented young guitarist and composer João Gilberto, with Elizete Cardoso, recorded “Chega de Saudade” on an LP titled ‘Canção do Amor Demais’, composed by Vinícius de Moraes (lyrics) and Antonio Carlos Jobim (music). The clarinet, cornet and saxophone of the American Big Bands were found in all the major cities and woven into the local flavors of street music. It was used to give life to the songs and rhythms of the ex-slaves as well as the voice of long-dead European composers of the Royal Courts.īrazil’s Southern neighbor Argentina had contributed the sophisticated jazz styling of the Tango Orchestras from the 1940s forward, and the Spanish Latin rhythms from Mexico and Central America were everywhere. It was an instrument of the people and could be found in formal classical presentations and back street brothels.

The nylon string guitar in Brazilian hands was equally comfortable with classical music and jazz. The samba was well established both rhythmically and instrumentally as dance and vocal accompaniment. The music of Brazil in 1958 was alive with influences from within and without.