That song - which displayed a casual disdain for the favorite Brazilian emotion of вЂњsaudade,вЂќ or longing - was first recorded in May 1958 by Elizete Cardoso, with Mr. GilbertoвЂ™s guitar rhythm and had ideas on how it could be applied to his unfinished song вЂњChega de Saudade.вЂќ He was introduced to AntГґnio Carlos Jobim, who was working as a staff arranger for Odeon Records Jobim heard Mr. Gilberto returned to Rio in 1957, and his fortunes changed. вЂњBy shortening the sounds of the phrases, the lyrics fit perfectly within the beats and ended up floating.вЂќДЄfter a short and unhappy detour to Bahia - he spent a week being examined at a mental asylum in the capital city, Salvador - Mr. вЂњI felt that the way other singers prolonged the sounds ended up hurting the natural balance of the music,вЂќ he said. Gilberto cited Dorival CaymmiвЂ™s 1955 song вЂњRosa MorenaвЂќ as one inspiration during this formative period. In a 1971 interview with the journalist TГЎrik de Souza, Mr. As much as he liked self-assured performers, his own sound seemed to shrink from the light it was an inversion of the popular bolero-like style that had dominated Brazilian popular music since the 1930s. The acoustics were reverberant enough for him to practice a whispery, nasal style of singing, audible over the guitar. This was where he found his sweet spot of artistic isolation, cloistering himself in his sisterвЂ™s house - specifically, in her bathroom. Gilberto moved to Diamantina, a city in the mountainous state of Minas Gerais, where his older sister Dadainha lived. Gilberto gained a following.ДЄfter about seven months Mr. Then a friend, the singer LuГs Telles, brought him to the coast town of Porto Alegre and put him up at a respectable hotel performing at a local nightclub, Mr. When he started refusing to work at clubs where he felt the customers talked too much, he entered a period of poverty, growing his hair long and wearing wrinkled clothes. According to Ruy CastroвЂ™s вЂњChega de SaudadeвЂќ (1990), a colorful history of the bossa nova movement, he also became a strange and marginal figure around town. In the intervening period, he worked sporadically around Rio - accompanying the singer Mariza, recording commercial jingles, taking jobs in a few long-running nightclub revues. It would be six years before he recorded again. single of rather mannered and old-fashioned sambas-canГ§ГЈo. The next year, recording under his own name with a string section, no harmony vocalist and no guitar, he made a 78 r.p.m. Gilberto was with Os Garotos only briefly, leaving the group in 1951. He left his hometown for Salvador, BahiaвЂ™s capital, in 1949, and a year later he was called to Rio de Janeiro by Alvinho Senna, guitarist for a young vocal quintet, Os Garotos da Lua (the Boys of the Moon), which had a regular performing slot on RioвЂ™s Radio Tupi. Gilberto had a strong, romantic voice, in the popular samba-canГ§ГЈo crooning style. He was sent to boarding school in Aracaju, east of Juazeiro on the Atlantic coast, when he was 11, but left at 15 to play music, serenading locals under a tamarind tree in JuazeiroвЂ™s town square. He was reclusive, rarely forthcoming with the news media and his audiences, and sometimes truculent onstage if his demands about sound were not met.Д«ut his work became a sign of the relative prosperity, optimism and romance of Brazil during the period of Juscelino KubitschekвЂ™s presidency in the late 1950s, and thereafter an ideal of musical restraint and mystery. Gilberto was not much of a songwriter: He was both вЂњless and more than a composer,вЂќ as the Brazilian singer and songwriter Caetano Veloso, an admirer, once put it. It has to be very quiet for me to produce the sounds IвЂ™m thinking of.вЂќ вЂњIt is as if IвЂ™m writing on a blank piece of paper. Gilberto said in an interview with the New York Times jazz critic John S. вЂњWhen I sing, I think of a clear, open space, and IвЂ™m going to play sound in it,вЂќ Mr. It also conveyed interiority through a singing style that was confiding, subtly percussive and without vibrato. GilbertoвЂ™s new synthesis replaced samba percussion with guitar-picking figures in offbeat patterns (called by some вЂњviolГЈo gago,вЂќ or вЂњstammering guitarвЂќ). Gilberto to Carnegie Hall and led to a Grammy Award, given to him and the jazz saxophonist Stan Getz, for a collaborative effort that was named album of the year for 1964 and that produced an enormous hit, вЂњThe Girl From Ipanema.вЂќ The music gained particular popularity in the United States, spawning pop hits and even a dance craze.

Getz gilberto album