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"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 ...
"Soul Bossa Nova" Quincy Jones 2:44 2 "Boogie Bossa Nova" Charles Mingus: 2:41 3 "Desafinado" Antônio Carlos Jobim, Newton Mendonça: 2:53 4 "Manhã de Carnaval (Morning Of The Carnival)" Luiz Bonfá, Antonio Maria: 2:55 5 "Se É Tarde Me Perdoa (Forgive Me If I'm Late)" Ronaldo Bôscoli, Carlos Lyra: 4:21 6 "On the Street Where You Live"
One of his best-known recorded performances is the lead flute and solo on Jones' "Soul Bossa Nova", a 1964 hit song repopularized in the Austin Powers films. [10] Kirk's multi-instrumentality was credited as having a substantial musical conception.
"Number One Spot" is a song by American rapper Ludacris from his fifth studio album The Red Light District. The song heavily samples Quincy Jones' "Soul Bossa Nova", which was also used as the theme tune to the Mike Myers James Bond parody film series Austin Powers; the films' references play a major part in the song and its music video.
Q: Soul Bossa Nostra is a studio album by Quincy Jones, recorded in 2010 with various artists. [3] The album was released on November 9, 2010, [4] and was Jones's final album; he died in 2024. [5] The title of the album refers to Jones's 1962 instrumental track "Soul Bossa Nova".
Quincy Jones Explores the Music of Henry Mancini is an album by Quincy Jones that contains music composed by Henry Mancini. [1] Track listing
"My Definition of a Boombastic Jazz Style", the album's most successful single, sampled Quincy Jones' "Soul Bossa Nova" — which was known to Canadian audiences as the theme tune to the game show Definition and the Mike Myers James Bond parody film series Austin Powers.
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.