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Samba-jazz or jazz samba is an instrumental subgenre of samba that emerged in the bossa nova ambit in the late 1950s and early 1960s in Brazil. [1] [2]The style consolidated the approach of Brazilian samba with American jazz, [3] especially bebop and hard bop, jazzy styles quite experienced by Brazilian musicians in scope of gafieiras and nightclubs especially in Rio de Janeiro.
"Blue Bossa" is an instrumental jazz composition by Kenny Dorham. It was introduced on Joe Henderson's 1963 album Page One. [1] A blend of hard bop and bossa nova, the tune was possibly influenced by Dorham's visit to the Rio de Janeiro Jazz Festival in 1961.
Bossa nova (Portuguese pronunciation: [ˈbɔsɐ ˈnɔvɐ] ⓘ) is a relaxed style of samba [nb 1] developed in the late 1950s and early 1960s in Rio de Janeiro, Brazil. [2] It is mainly characterized by a calm syncopated rhythm with chords and fingerstyle mimicking the beat of a samba groove, as if it was a simplification and stylization on the guitar of the rhythm produced by a samba school band.
The term "música instrumental Brasileira", which literally means "Brazilian instrumental music", is used in Brazil as an umbrella term to refer to jazz as well as several instrumental forms of art music drawing on national styles such as choro, samba and bossa nova. The term's ambiguity allows for the fact that Brazilian musicians themselves ...
"Wave" (also known as "Vou Te Contar" in Portuguese; "I am going to tell you" in English) is a bossa nova and jazz standard song written by Antônio Carlos Jobim.Recorded as an instrumental on his 1967 album of the same name, its English lyrics were written by Jobim himself later that year.
"Matteo" is a mid-tempo bossa nova-influenced track, [1] composed by Basia's guitarist, Giorgio Serci, and produced by Danny White and Basia. The song is based on an instrumental track called "Momentum" from Serci's 2009 album Silver Lining, recorded and released with Roberto Manzin. Encouraged to contribute the lyrics, Basia struggled for a ...
It spanned all the idioms of Brazilian popular music of the 20th century: samba, bossa nova, Afro-bahian ritual music, frevo, choro, and North Eastern Sertão music, and even European and Japanese lullabies. Like most musicians growing up in the 1940s and 1950s, he was deeply influenced by jazz, especially bebop and swing.
An instrumental version was included on The Lonely Bull by Herb Alpert and the Tijuana Brass (1962). [9] Astrud Gilberto and George Michael recorded a version for the 1996 compilation album Red Hot + Rio. Ana Caram covered the song on her 2001 album Bossa Nova.