It has been said that Antonio Carlos Brasileiro de Almeida Jobim was the George Gershwin of Brazil—and there is a solid ring of truth in that, for both contributed large bodies of songs to the jazz repertoire, both expanded their reach into the concert hall, and both tend to symbolize their countries in the eyes of the rest of the world. With their gracefully urbane, sensuously aching melodies and harmonies, Jobim's songs gave jazz musicians in the 1960s a quiet, strikingly original alternative to their traditional Tin Pan Alley source.
Jobim's roots were always planted firmly in jazz; the records of Gerry Mulligan, Chet Baker, Barney Kessel and other West Coast jazz musicians made an enormous impact upon him in the 1950s. But he also claimed that the French impressionist composer Claude Debussy had a decisive influence upon his harmonies, and the Brazilian samba gave his music a uniquely exotic rhythmic underpinning. As a pianist, he usually kept things simple and melodically to the point with a touch that reminds some of Claude Thornhill, but some of his records show that he could also stretch out when given room. His guitar was limited mostly to gentle strumming of the syncopated rhythms, and he sang in a modest, slightly hoarse yet often hauntingly emotional manner.
Anatomy of a Standard
Building a Jazz Library
Read more articles
January 06, 2017
Tom Jobim: Melody Master
November 06, 2011
Hal Leonard Books Publishes "Antonio Carlos Jobim: An Illuminated Man"
July 02, 2010
Richard Bona, 7th Winner of the Antonio Carlos Jobim Award
April 05, 2010
Frank Sinatra/Antonio Carlos Jobim Reissue Coming On Concord
July 09, 2009
Toots and the Maytals, 6th Winners of the Antonio Carlos Jobim Award
January 25, 2009
Jazz Musician of the Day: Antonio Carlos Jobim
April 28, 2008
Westchester Jazz Orchestra to Perform Works of Antonio Carlos Jobim on...
February 28, 2008
Pure Bossa Nova | Antonio Carlos Jobim | Album
May 24, 2006
Slide Hampton Plays the Music of Antonio Carlos Jobim Sunday, June 4th...