Beyond the Girl from Ipanema
Beautiful melodies, complex jazz harmonies and soft poetic vocals about women, nature and love is what Bossa Nova is all about. Meaning “new trend” or “new wave”, Bossa Nova is a distinct style of music born in Rio De Janeiro that took inspiration from west coast cool jazz and samba. From its conception in 1958 to the genre's boom of success in America during the early 1960s, Bossa Nova has had a massive impact on American and Brazilian music culture.
While “Garota de Ipanema (The Girl from Ipanema)” is considered one of the most well-known songs, the history of the genre is still widely unknown to the average music listener. As a result, I feel that this impactful style of music should be highlighted. So, how was this genre born and how did it gain such exponential acclaim? To answer this question, we have to first look at Brazil in the 1950s.
In 1956, Juscelino Kubitchek became the new president of Brazil. During his presidency he strived for rapid industrialization, adopting the catchphrase “fifty years of progress in five”. Kubicek's goal jump-started a period in Brazil’s history that placed emphasis on modernism and sophistication. From this movement, citizens in Brazil’s larger cities had a strong sense of optimism for a “new” Brazil. During this time, there was also a push for modern music to replace Brazil's national genre, Samba, which was seen as old school.
“Bossa Nova was a largely impactful genre both politically and sonically, as it bridged the gap between the old and the new. ”
Utilizing Samba techniques along with poetic lyrics that reflected the “new” Brazil, Antonio Carlos Jobim, Joāo Gilberto and Vinicius de Moreaes recorded the first Bossa Nova song in 1958, titled “Chega de Saudade”. At the time of its release, it gained major popularity in Brazil but the genre was generally speaking, unheard of in the United States.
“Chega de Saudade”
Album by Antonio Carlos Jobim, Joāo Gilberto and Vinicius de Moreaes.
A year later, in 1959, the film “Black Orpheus” was released by French director Marcel Camus which included a fully Bossa Nova soundtrack, composed by Luiz Bonfá and Antônio Carlos Jobim. This film was awarded the Palme d’Or at the Cannes Film Festival and other international film awards at the Golden Globes and Academy Awards. The Bossa soundtrack intrigued American audiences with its romantic lyricism and similarities to popular Californian Cool Jazz.
As the 1960s rolled around, America strived to strengthen their ties with Brazil. From this, the “good neighbor policy” was born, with help from millionaire Nelson Rockefeller. This policy included sending “jazz ambassadors'' internationally to spread American values and musical culture. While on these state-sponsored trips, American musicians picked up musical techniques from Brazilian musicians. One of which was Charlie Byrd, a classical guitarist from Virginia that was particularly fascinated by Joāo Gilberto's albums. Once back in the United States, Charlie Byrd, with help from saxophonist Stan Getz, came out with “Jazz Samba '' in 1962. “Jazz Samba '' instantly became a national hit, appearing on top jazz charts for 72 weeks and was considered the spark of Bossa Nova’s popularity in the United States.
“Jazz Samba”
Album by Stan Getz and Charlie Byrd
Later that year, Brazilian musicians were invited to New York to play a Bossa Nova concert at Carnegie Hall. Big names such as Joāo Gilberto, Antonio Carlos Jobim, Luiz Bonfa, Sergio Mendes, and more, played in this concert, propelling Bossa Nova further into the American limelight. Following the Carnegie Hall Concert, many Bossa musicians decided to stay in the United States to further their careers and produce music with prominent production companies.
Although Bossa Nova was very popular in America in the early 1960s, that popularity was generally confined to jazz charts. Through the whirlwind of new and old Bossa artists releasing music, Stan Getz, Joāo Gilberto and Antônio Carlos Jobim wrote “Getz/Gilberto”, an album that ended up containing one of the most iconic songs in history, “Garota de Ipanema (The Girl from Ipanema)”.
“Getz/Gilberto”
Album by Stan Getz, Joāo Gilberto and Antônio Carlos Jobim
Recorded in 1963, “Garota de Ipanema (The Girl from Ipanema)” combined classic Bossa Nova with Portuguese and English lyrics. Although the inclusion of English lyrics, sung by Astrud Gilberto’s, is uncharacteristic of the genre, it allowed the song to reach a larger audience by breaking the language barrier in western popular music. The song was a massive hit, ultimately spending 96 weeks on American charts. The song's worldwide fame led artists such as Frank Sinatra, Amy Winehouse, Eartha Kitt, and more, to release covers, in turn making “Garota de Ipanema (The Girl from Ipanema) the second most recorded song in US history.
In the years following Getz and Gilberto's hit song, the once optimistic Brazil entered a dictatorship following a military coup in 1964. Much of the laid-back subject matter that was sung about in Bossa Nova was suddenly out of place. As a result, Bossa lost its grip on Brazil as a new genre of music, MPB (Música Popular Brasileira) entered the scene. In America, the Brazilian musicians that relocated following the 1962 Carnegie Hall concert continued to make music, even as the fame of Garota de Ipanema had begun to fade. In the succeeding decades, the impacts of Bossa Nova in America can be seen in the adaptation of the modern jazz style, the reinvigoration of the guitar as a jazz instrument, as well as the center of “lounge music”. In Brazil, the legacy of Bossa is seen in the influx of professional musicians in the country.
Bossa Nova was a largely impactful genre both politically and sonically, as it bridged the gap between the old and the new. Although the distinct style was only active in Brazil from 1958 to 1964, its influence is still present in modern musical culture. For me, Bossa Nova is not only a staple in my music library but tells a story of the time in which it was made. For that reason, I believe the story behind this impactful genre should be shared. Not only for cultural context but also to spotlight influential Bossa artists that are lesser known than the artists of “Garota de Ipanema ''. Through this article, the resources I used, including books, vinyl and CDs were critical in my brief overview of the genre. For further research, I have included a list of the most influential albums of the Bossa Nova era from 1958 to1965, as well as books that delve into a more complex historical analysis. Whether you are familiar with “Garotas de Ipanema'', are a big Bossa fan or have no idea what I’m talking about, I hope this article has taught you something about one of the most iconic genres.
Find more of Kate’s recommendations below:
Albums:
Marcos Valle, “Garra”
Baden Powell, “Images on Guitar”
Baden Powell, “À Vontad”
Astrud Gilberto, “The Astrud Gilberto Album”
Antônio Carlos Jobim, “Wave”
Books:
The Brazilian Sound by Chris McGowan and Ricardo Pessanha
Bossa Nova: The Rise of Brazilian Music in the 60s by Giles Peterson and Stuart Baker
