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It mustbeunderstoodthat,inBrazil waschanging. It wasthefirst yearof luscelinoKubitschek’s govern- mentandthepresidentialplantomake thecountrydevelop50yearsin5 wasin full swing. Popularmusic,therelore,couldnotre- mainaloollromtheatmosphere01reno- vation,especiallyasithadatitsdispo- sal thenewtechnology01highfidelity soundandthelO-inchLP.
Chico Buarque – Chico Buarque, Almir Chediak – Google Books
They belongedtothemiddleclass intheBos- saNova,we’reall bourgeois. Theyknewaboutmusicaltech- niques wecannotlorgetthatmostolthe musicatthetimewaspejorativelycal- ledtheproduct01matchboxcomposers andone01theiraimswastomakeBra- zilianpopularmusicassophisticatedas themusictheyheardonrecordsimpor- tedlrom theUSoIt certainlywasnot theirintentiontoslavishlycopywhate- vercomeinlromoutside,buttousere- sourcesinourSambathat,in theiropi- nion.
As it wasnota movementthathadsetrules. Theyhadincommonadesiretodo somethingnewanda convictionthat whathadbeendonebelore.
Bossa Nova Songbook 1 Almir Chediak (1)
Carlos Lyra — RobertoMenescal 20 Songbooko BossaNava VinidusdeMoraese TomJobim fore, throughouttheyears,wefind the mostdiverseinterpretationsof themo- vementin interviewswiththefounding membersthemselves. Whodoesn’tre- memberthefamousjamsessionsin the BecodasGarrafas?
Buttoreducethe BossaNova to this influencealone wouldbefarfromthetruth. TomJobim, JustcaU mymusic Samba. He confessed that,in fact, his worksimbibedmore fromtheharmoniesofChopinthatfrom jazz.
JodoGilberto,oneofthegreatle- adersof themovement,oncerequested thathismusicbecalledsimplySamba andnotBossaNova. Pianistandcom- poserJodo Donato,in a interviewhe gavemein ,saidthathehadno- thingtodowiththeBossaNova.
Theywantmetobeoneof thefounders,oneof thepopes,but 11 that’s all bullshit. He was,infact, thefirst oneto protestopenlyabouttheinfluenceof jazz in theBossaNova in an ironic Sambawithafranklyjazzorchestration.
The bVIm6 Chord: The Genius of Tom Jobim Part.1
However,whethertheylike it or not, theywerefundamentalcharactersinthe creationoftheBossaNova. Jodo Gilbertocamein with hisrevolutionarywayofsingingandhis famousguitartechnique.
Viniciusde Moraes,RonaldoBoscoli,theduoJo- bim-NewtonMendon’s’aandthepoorly- rememberedlyricistCarlosLyratighte- nedup thetraditionallyricformsand madethemlesswordy,bothinformand in contentoOn lookingbackoverBra- zilianpopularmusic,noonecandeny that,duringthesecondhalfof thede- cadeof the50s,a definitechangeof directiontookplacethat,whileit did notalterpopular music’s trajectory completely,it didleaveitsmarkonthe timesandinfluencetheextraordinary generationofmusiciansthatweretofol- low,whichcanbeconsideredoneofthe mostimportantof all.
Tounderstandcorrectlywhatthemo- vementwasitmustbesaidthattheBos- A definite change of direction took place saNovadidnotshootintothehitpara- desof thetimes.
Butthisonly goestoshowthatrarelyistheconsumer societyin thesameboatasmusicalre- ality.