[Jazz] João Gilberto - João Voz e Violão

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不知道这张专辑有没有人介绍过。也是我比较喜欢的一张专辑。找到了一个貌似主页的网页，烂得可以，所以就直接从维基考过来的介绍。

João Gilberto - João Voz e Violão

João Voz e Violão (portuguese for "João: voice and acoustic guitar") isa bossa nova album by João Gilberto, released in 2000. Recording verylittle in the 1990s, this album is João Gilberto's first studio albumsince 1991's João.



01 "Desde que o Samba é Samba" (Veloso) http://tw.youtube.com/watch?v=veUTTINhZHE
02 "Você Vai Ver" (Jobim)
03 "Eclipse" (Lecuona)  
04 "Não Vou Pra Casa" (Almeida, Roberti)
05 "Desafinado" (Jobim, Mendonça)    http://tw.youtube.com/watch?v=g6w3a2v_50U
06 "Eu Vim da Bahia" (Gil)  
07 "Coração Vagabundo" (Veloso)
08 "Da Cor do Pecado" (Bororo)
09 "Segredo" (Martins, Pinto)
10 "Chega de Saudade" (De Moraes, Jobim)   http://tw.youtube.com/watch?v=gzxVBXCP1jg&feature=related


João Gilberto
João Gilberto (born João Gilberto Prado Pereira de Oliveira on June 10,1931 in Juazeiro, Bahia) is a Grammy Award-winning Brazilian singer andguitarist. He is credited with having created the bossa nova beat andis known as the "Father of Bossa Nova." His seminal recordings,including many songs by Antonio Carlos Jobim and Vinicius de Moraes,established the new musical genre in the late 1950s.



Biography
From an early age, music was a part of João Gilberto's life. Hisgrandfather bought him his first guitar at the age of 14. During highschool, Gilberto teamed up with some of his classmates to form a smallband. Gilberto, who led the band, was influenced by Brazilian popularsongs, American jazz, and even some opera, among other genres. Aftertrying his luck as a radio singer in Salvador, Bahia, the youngGilberto was recruited in 1950 as lead singer of the vocal quintetGarotos da Lua (The Boys of the Moon) and moved to Rio de Janeiro. Ayear and a half later, he was dismissed from the group for his lack ofdiscipline (he would often show up late to rehearsals or not at all).

For seven years, Gilberto's career was at a low ebb. He rarely had anywork, was dependent on his friends for living quarters, and fell intochronic depression. Eventually he was rescued from this rut by LuizTelles, leader of the vocal group Quitandinha Serenaders, who took himto Porto Alegre in southern Brazil. In this provincial town JoãoGilberto blossomed. Next he spent eight months with his sister in MinasGerais, where he sequestered himself and played day and night, forginga personal style for voice and guitar that would come to be known asbossa nova.

Bossa nova is a refined version of samba, de-emphasizing the percussiveaspect of its rhythm and enriching the melodic and harmonic content.Rather than relying on the traditional Afro-Brazilian percussiveinstruments, João Gilberto often eschews all accompaniment except hisguitar, which he uses as a percussive as well as a harmonic instrument,incorporating what would be the role of the tamborim in a full batucadaband. The singing style he developed is almost whispering, economical,and without vibrato. He creates his tempo tensions by singing ahead orbehind the guitar.

This style, which Gilberto introduced in 1957, created a sensation inthe musical circles of Rio's Zona Sul, and many young guitarists soughtto imitate it. It was first heard on record in 1958, when João Gilbertoaccompanied singer Elizete Cardoso in a recording of "Chega deSaudade", a song by Antonio Carlos Jobim and Vinicius de Moraes.Shortly after this recording, João Gilberto made his own debut singleof the same song, followed by the 1959 LP, Chega de Saudade. The song(listen to excerpt) turned into a hit, launching Gilberto's career andthe bossa nova craze. Besides a number of Jobim compositions, the albumfeatured older sambas and popular songs from the 1940s and '50s, allperformed in Gilberto's distinctive style. This album was followed bytwo more in 1960 and 1961, by which time the singer featured new songsby a younger generation of performer/composers such as Carlos Lyra andRoberto Menescal.

By 1962, bossa nova had been embraced by North American jazz musicianssuch as Herbie Mann, Charlie Byrd, and Stan Getz, who invited Gilbertoand Jobim to collaborate on what became one of the best-selling jazzalbums of all time, Getz/Gilberto. Through this album, Gilberto's wifeAstrud became an international star, and the Jobim/de Moraescomposition "The Girl from Ipanema" became a worldwide pop musicstandard.

João Gilberto lived in the United States from 1962 until 1969, when hemoved to Mexico for two years. There he recorded João Gilberto enMéxico (1970). João Gilberto, aka the "White Album" (1973), featuredhypnotic minimalist execution, limited to the singer, his guitar, andSonny Carr on drums. 1976 saw the release of The Best of Two Worlds, areunion with Stan Getz, featuring singer Miúcha, (sister of ChicoBuarque), who had become Gilberto's second wife in April 1965. Amoroso(1977) backed Gilberto with the lush string orchestration of ClausOgerman, who had provided a similar sound to Jobim's instrumentalrecordings in the late 1960s and early 1970s. As had been the case forall of Gilberto's albums, the album consisted mostly of Jobimcompositions, mixed with older sambas and an occasional North Americanstandard from the 1940s.

Playing guitarJoão Gilberto returned to Brazil in 1980. The followingyear saw the release of Brasil, with guests Gilberto Gil and CaetanoVeloso, who in the late 1960s had founded the Tropicalia movement, afusion of Brazilian popular music with foreign pop. The 1991 releaseJoão, with orchestrations by Clare Fischer, was unusual in its lack ofeven a single Jobim composition, instead featuring songs in English,French, Italian, and Spanish, plus old sambas and the solitarycontemporary song "Sampa" (Caetano Veloso). Also released in 1991 wasthe album Canto do Pajé by Veloso's sister Maria Bethânia, on whichBethânia and Gilberto sing an intimate medley of "Maria" (AryBarroso/Luiz Peixoto) and "Linda Flor"' (Henrique Vogeler/LuizPeixoto/Marques Pôrto), accompanied solely by his guitar. João Voz eViolão (2000) was an homage to the music of Gilberto's youth as well asa nod to producer Caetano Veloso.

Evenly interspersed with these studio recordings have been the liverecordings Live in Montreux; João Gilberto Prado Pereira de Oliveira;Eu Sei Que Vou Te Amar; Live at Umbria Jazz; and Live in Tokyo.

While all of Gilberto's albums since Getz/Gilberto have been releasedon CD, the first three domestic albums were released in 1988 by EMI ona single CD entitled The Legendary João Gilberto: The Original BossaNova Recordings (1958-1961). The disc also included three tracks fromthe singer's 1959 Orfeu Negro EP: "Manhã de Carnaval," O Nosso Amor,and A Felicidade, the latter two merged into a single medley track tofit within the recording time of a CD. After its release, Gilbertosuccessfully sued to have the title removed from sale as anunauthorized release of his artistic works.

João Gilberto has long had a reputation as being an eccentricperfectionist. He lives in an apartment in Leblon, Rio de Janeiro,refusing interviews and avoiding crowds. He has been known to walk outon performances in response to an audience he considers disrespectful,or out of theaters possessing acoustics below his standards, and onseveral occasions requested that the air conditioning be turned off atconcert venues. Yet he continues to perform to sell-out crowds inBrazil as well as in Europe, North America, and Japan.

Discography
João Gilberto's first recordings were released in Brazil as two-song78-rpm singles between 1951 and 1959. In the 1960s, Brazilian singlesevolved to the "double compact" format, and João would release some EPsin this new format, which carried 4 songs on a 45-rpm record.

Garotos da Lua Singles
Garotos da Lua (July 1951, Todamerica 5075, 78-rpm single)
Quando Você Recordar (Valter Souza/Milton Silva) / Amar é Bom (Zé Ketti/Jorge Abdala)
Garotos da Lua (November 1951, Todamerica 3120, 78-rpm single)
Anjo Cruel (Wilson Batista/Alberto Rego) / Sem Ela (Raul Marques/A. Ribeiro)

Solo Singles and EPs
João Gilberto (August 1952, Copacabana 096, 78-rpm single)
Quando Ela Sai (Albeto Jesus/Roberto Penteado) / Meia Luz (Hianto de Almeida/João Luiz)
78 Rotações (August 1958, Odeon 14.360, 78-rpm single)
Chega de Saudade (Tom Jobim/Vinicius de Moraes) / Bim Bom (João Gilberto)
João Gilberto (February 1959, Odeon 14.426, 78-rpm single)
Ho-ba-la-lá (João Gilberto) / Desafinado (Tom Jobim/Newton Mendonça)
João Gilberto (June 1959, Odeon 14.460, 78-rpm single)
Lobo Bobo (Carlos Lyra/Ronaldo Boscoli) / Maria Ninguém (Carlos Lyra)
João Gilberto (July 1959, Odeon 14.491, 78-rpm single)
A Felicidade (Tom Jobim/Vinicius de Moraes) / O Nosso Amor (Tom Jobim/Vinicius de Moraes)
João Gilberto (July 1959, Odeon 14.495, 78-rpm single)
Manhã de Carnaval (Luís Bonfá/Antônio Maria) / Frevo (Tom Jobim)
Samba de Uma Nota Só (1959, Odeon BWB 1153, 45-rpm EP)
Samba de Uma Nota Só / Dor爱丽丝 / O Pato / Trevo de Quatro Folhas (also released in 1960 as two 78-rpm discs)
João Gilberto (April 1961, Odeon 14.725, 78-rpm single)
Bolinha de Papel (Geraldo Pereira) / Saudade da Bahia (Dorival Caymmi)
João Gilberto (1962, Odeon, 45-rpm EP)
O Nosso Amor / A Felicidade / Manhã de Carnaval / Frevo

Albums
Chega de Saudade (1959, LP)
O Amor, o Sorriso e a Flor (1960, LP)
João Gilberto (1961, LP)
Getz/Gilberto (1964, LP)
Herbie Mann & João Gilberto with Antonio Carlos Jobim (1965, LP)
Getz/Gilberto Vol. 2 (1966, LP)
João Gilberto en Mexico (1970, LP)
João Gilberto (1973, LP)
The Best of Two Worlds (1976, LP)
Amoroso, (1977, LP)
João Gilberto Prado Pereira de Oliveira, (1980, LP)
Brasil, (1981, LP)
Live at the 19th Montreux Jazz Festival, (1986, double LP)
Live in Montreux, (1987, CD)
Stan Getz meets João & Astrud Gilberto (1990, CD)
João, (1991, LP)
Eu Sei que Vou Te Amar, (1994, CD)
João Voz e Violão, (2000, CD)
Live at Umbria Jazz, (2002, CD)
In Tokyo, (2004, CD)

咪姆

01 "Desde que o Samba é Samba"

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05 "Desafinado" (Jobim, Mendonça)

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10 "Chega de Saudade" (De Moraes, Jobim)

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$m19$ 现在没有钱捏 等有了再补上