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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.
Jazz Samba is a bossa nova album by Stan Getz and Charlie Byrd released by Verve Records in 1962. [6] Jazz Samba signaled the beginning of the bossa nova craze in America. Stan Getz was the featured soloist and the tracks were arranged by Charlie Byrd, who had first heard bossa nova during a tour of Brazil 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 ...
"Pensativa" is a bossa nova jazz standard by American pianist/composer/arranger Clare Fischer, first recorded in 1962 by a quintet under the joint leadership of Fischer and saxophonist Bud Shank, and released that year as part of an album entitled Bossa Nova Jazz Samba, comprising music in this style, as per its title, all of it arranged by ...
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.
"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.
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.
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