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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.
Getz/Gilberto is a jazz and bossa nova album and includes tracks such as "Desafinado", "Corcovado", and "Garota de Ipanema". The last received a Grammy Award for Record of the Year and started Astrud Gilberto's career. "Doralice" and "Para Machucar Meu Coração" strengthened Gilberto's and Jobim's respect for the tradition of pre-bossa nova samba.
João Donato de Oliveira Neto (17 August 1934 – 17 July 2023) was a Brazilian jazz and bossa nova pianist as well as a trombonist from Rio Branco. He first worked with Altamiro Carrilho and went on to perform with Antonio Carlos Jobim and Astrud Gilberto. Because of the area he grew up in Brasil he was able to hear Cuban music on the radio.
"Soul Bossa Nova" is a popular instrumental, composed and first performed by American musician Quincy Jones. It appeared on his 1962 Big Band Bossa Nova album on Mercury Records. [3] Jones said that it took him twenty minutes to compose the piece, [4] which features prominently a cuíca (responsible for the distinctive "laughing" in the first ...
Wave is the fifth studio album by Brazilian jazz musician Antônio Carlos Jobim, released in 1967 on A&M Records.Recorded in the US with mostly American musicians, it peaked at number 114 on the Billboard 200 chart, [1] as well as number 5 on the Jazz Albums chart.
An instrumental version was included on The Lonely Bull by Herb Alpert and the Tijuana Brass (1962). [10] 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.
Widely regarded as "landmark" recordings, Almeida and Shank's combination of Brazilian and jazz rhythms (which Almeida labeled "samba-jazz"-[4]) presaged the fusion of Latin and jazz, which is quite different in bossa nova, although jazz critic Leonard Feather credited Almeida and Shank as the creators of bossa nova sound. [2]