Biography of the Bahian singer-songwriter João Gilberto

João Gilberto do Prado Pereira de Oliveira (Juazeiro, 10 June 1931 – Rio de Janeiro, 6 July 2021), better known as João Gilberto, is a Brazilian musician considered the creator of the bossa nova rhythm.

João Gilberto was given a guitar at the age of 14 and has never let it go since. In the 1940s he loved listening to artists such as Duke Ellington, Tommy Dorsey, Dorival Caymmi and Dalva de Oliveira.

Move to Salvador and Rio de Janeiro

At the age of 18, João Gilberto decided to move to Salvador with the intention of becoming a radio singer and crooner. He then moved to Rio de Janeiro in 1950, where he had some success singing with the group Garotos da Lua. However, he was expelled from the group for indiscipline and spent a few years on the fringes, obsessed with the idea of creating a new way of expressing himself with the guitar.

Meeting Tom Jobim and the birth of Bossa Nova

His efforts were finally rewarded when he met Tom Jobim, a pianist accustomed to classical music and a composer influenced by American music of the time, especially jazz. Together with a group of middle-class university students who were also musicians, they started the movement that became known as Bossa Nova.

History of Bossa Nova

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The bossa nova rhythm is a blend of the syncopated percussion rhythm of the samba in a simplified yet sophisticated form that can be played on the guitar (without additional accompaniment), the technique of which was invented by João Gilberto.

Origin of the name “Bossa Nova

The origin of the name “bossa nova” dates back to the 1950s in Brazil and is an expression that reflects a new approach to popular music, particularly samba. The term “bossa” is Carioca slang and means “way” or “style”, while “nova” refers to the idea of something new or innovative. So “bossa nova” can be translated as “new way” or “new style”.

The bossa nova movement emerged from the combination of influences from traditional samba with elements of jazz and classical music, creating a softer, more sophisticated sound. This new form of musical expression was popularised by artists such as João Gilberto, Tom Jobim, Vinícius de Moraes and Astrud Gilberto, among others. Bossa Nova became a symbol of Brazilian culture and conquered the world, retaining its essence of innovation and lightness.

The term was also associated with the bohemian atmosphere of Rio de Janeiro, where musicians and composers gathered for small meetings and parties, celebrating music and creativity in a relaxed way. Bossa Nova is therefore not only a musical style, but also a cultural expression that encapsulates the identity and modernity of Brazil at the time.

Vocal technique

As for the vocal technique (an integral part of the concept of bossa nova), it is a technique of singing in a uniform tone of voice, with a voice emitted without vibrato, and with phrasing arranged in a unique and unconventional way (sometimes anticipating, sometimes following the rhythmic base), eliminating almost all breathing noise and other imperfections.

First recordings and success

Despite his fame with the then newly created Bossa Nova, his first commercially released recording was as guitarist on Elizeth Cardoso‘s 1958 album Canção do Amor Demais, which featured songs by Tom Jobim and Vinícius de Moraes. Shortly after this recording, João Gilberto recorded his first LP, Chega de Saudade.

The title track, composed by Tom and which also appeared on Elizeth Cardoso’s album, was a hit in Brazil and launched João Gilberto’s career and, by extension, the whole bossa nova movement. In addition to some compositions by Tom Jobim, the album featured older sambas and popular songs from the 1930s, all played to a bossa nova rhythm. This album was followed by two more, in 1960 and 1961, presenting new songs by a new generation of singers and composers, such as Carlos Lyra and Roberto Menescal.

Bossa Nova and International Jazz

By 1962, bossa nova had been adopted by American jazz musicians such as Herbie Mann, Charlie Byrd and Stan Getz. At Stan Getz’s invitation, João Gilberto and Tom Jobim collaborated on one of the greatest jazz albums of all time, Getz/Gilberto.

With this album, Astrud Gilberto, João Gilberto’s wife at the time, became an international star, and Jobim’s composition Garota de Ipanema (in its English version, The Girl from Ipanema) became a worldwide hit and a pop model for all ages.

Years of production and musical evolution

João Gilberto continued to perform throughout the 1960s, but didn’t release any new work until 1968, when he recorded Ela é Carioca during his time in Mexico.

The João Gilberto disc, sometimes called the “white album” of bossa nova (in reference to the Beatles’ white album), was released in 1973 and presents an almost mystical musical sensibility, his first noticeable change of style after a decade.

In 1976, The Best of Two Worlds was released, featuring Stan Getz and the singer Miúcha, who had become João Gilberto’s second wife in April 1965. Amoroso, from 1977, was arranged by Claus Ogerman, who was looking for a sound similar to that of Tom Jobim. The repertoire consisted of old sambas and some American musical standards from the 1940s.

Collaborations in the 1980s

In the 1980s in Brazil, João Gilberto collaborated with Gilberto Gil, Caetano Veloso and Maria Bethânia (founders of the movement known as Tropicália at the end of the 1960s). In 1991 he released the disc João, which didn’t include any compositions by Tom Jobim.

Instead, it included works by Caetano, Cole Porter and Spanish-language composers. João Voz e Violão, released in 2000, signalled a return to bossa nova classics such as Chega de Saudade and Desafinado. The CD, a tribute to the music of his youth, was produced by Caetano Veloso.

These studio recordings were interspersed with live recordings such as Live in Montreux, Prado Pereira de Oliveira or Live at Umbria Jazz.

Bossa Nova in recent years

In 2008, one of João’s rare tours of Brazil was announced. Tickets for two shows at the Ibirapuera Auditorium in São Paulo were fought over in huge queues and sold out within an hour. The same happened in Rio de Janeiro for a performance at the Municipal Theatre.

At the São Paulo concerts, the big surprises were the performances of songs not previously recorded by João, such as 13 de Ouro, Dor de Cotovelo, Hino ao Sol / O Mar, Chove Lá Fora, Dobrado de Amor a São Paulo and an unpublished song of his own, in honour of Japan.

João Gilberto’s importance for Brazilian music

João Gilberto‘s importance to Brazilian music is immense and multifaceted. He is widely regarded as the creator of Bossa Nova, a musical movement that revolutionised Brazilian popular music from the 1960s onwards. Here are some points that highlight his importance:

1. Musical innovation: João Gilberto introduced a new way of playing the guitar, using a sophisticated technique that combined the syncopated rhythm of samba with elements of jazz. This unique approach created a style that became the foundation of bossa nova.
2. Distinctive Vocal: His way of singing, with a smooth timbre and unconventional phrasing, brought a new vocal aesthetic to Brazilian music. This technique, which eliminated vibrato and emphasised emotional expression, influenced generations of singers.
3. Internationalisation of Brazilian music: With bossa nova, João Gilberto helped bring Brazilian music to the international stage. His Getz/Gilberto album introduced bossa nova to a global audience and made songs like Garota de Ipanema a worldwide classic.
4. Cultural influence: Bossa Nova was not just a musical style; it became a symbol of Brazilian culture in the 1960s, representing a new vision of modernity and sophistication. João Gilberto, its main exponent, became a cultural icon.
5. Lasting legacy: His work continues to influence musicians from different generations and genres. Bossa Nova remains alive and relevant, with contemporary artists often citing João Gilberto as an inspiration.
6. Connections with other genres: João Gilberto also built bridges between Brazilian music and other styles, such as jazz and classical music, broadening the horizons of Brazilian popular music.

In short, João Gilberto not only shaped bossa nova, but also left a lasting legacy that continues to influence Brazilian and world music. His contribution goes beyond music, permeating culture and national identity.

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