THE MOUNTAINS, THE SUN AND THE SEA: The Art of AntĂŽnio Carlos ("Tom") Jobim, comprises the landmark early Brazilian recordings of the composer, spanning the first decade of his career; the historic albums Jobim participated in making and a quantity of his songs - 78s and singles - recorded by popular Brazilian singers of the day. Taking much of his inspiration from nature, Jobim's music has been described as the embodiment of Brazil itself and may be considered a metaphor for the optimism of a nation that was at the time enjoying a brief period of Democracy. To a Brazilian popular music scene weighed-down by heavily orchestrated melodrama, Jobim's music came as a breath of fresh air, bringing lightness, a deceptive simplicity, space, subtlety and understatement. Whether writing alone, or with partners such as Billy Blanco, Newton Mendonça, Dolores Duran, Luiz BonfĂĄ, or, most fruitfully and enduringly, with the poet Vinicius de Moraes, Jobim was central to a Latin-American musical revolution that would have global implications. Jobim's musical viewpoint - a lyricism born largely of his love of Chopin, Debussy, Ravel, Stravinsky and the music of his fellow-countryman Heitor Villa-Lobos - took form in the early fifties, the trajectory of his career apparent from his first hit, the delightfully breezy LĂșcio Alves-Dick Farney duet, Teresa da praia, through the panoramic Sinfonia do Rio de Janeiro, a model of artistic collaboration and in it's harmonic and melodic properties, a pre-echo of bossa nova; the beautiful songs he wrote for the Orfeu da Conceiçao theatre production, Jobim's first collaboration with Vinicius, from which emerged the popular "Se todos fossem iguais a vocĂȘ" (Someone to Light Up My Life); and Cançao Do Amor Demais, the programme of Tom-Vinicius compositions sung by Elizete Cardoso which represents the transitional stage between samba-cançao and bossa nova. On this recording, briefly, for the first time, we hear the guitar of Joao Gilberto. In 1959, Chega de saudade changed everything. Produced and arranged by Jobim, the album's twelve songs are the blueprint for bossa nova and the turning point for Brazilian culture. Joao Gilberto's voice is intimate and serene and he proposed an entirely new approach to the guitar, an audacious refinement of the essentials of the samba rhythm, the irresistible force of 500 percussionists in miniature; a breathtaking act of modernist art. Time was when the young Jobim had needed to peddle his compositions to local recording artists, now, following the success of Chega de saudade, singers beat a path to his door, pleading for songs. Some artists devoted entire albums to Jobim repertoire. Silvia Telles established herself early on as the foremost interpreter of the composer's work and many of her recordings deserve to be regarded as definitive. By contrast, the soprano Lenita Bruno viewed Jobim from an art song perspective, achieving a sublime result that is a remarkable showcase both for her voice and for the arrangements of her husband Leo Peracchi, one of great modernisers of popular music orchestration. In 1958, Juscelino Kubitschek, the President of Brazil, asked Tom and Vinicius to compose a symphonic suite to be used at the opening ceremony of Brasilia, a city designed by Oscar Niemeyer and Lucio Costa, which was to be built in the state of GoiĂĄs on the central plateau. Brasilia would be inaugurated as the nation's new capital in April 1960. Neimeyer's vision would be one of history's boldest, most dramatic architectural statements that for Brazil was intended to represent a new vision for the future. The composers responded with a symphonic poem for full orchestra in five movements involving themes inspired by Brazilian folk melodies and birdsong; Stravinsky and Villa-lobos. If one song can be said to have made bossa nova and Tom Jobim's name famous the world over, it was Garota de Ipanema (The Girl from Ipanema). The very first recording of this essay in sensuality was made by the fine Brazilian singer Pery Ribeiro in 1962 (Astrud Gilberto's sandy million-selling hit would be recorded in March of the following year). Over the ensuing decades, the composition has been interpreted by a legion of international artists; the second most recorded song in pop history after Lennon & McCartney's Yesterday
THE MOUNTAINS, THE SUN AND THE SEA: The Art of AntĂŽnio Carlos ("Tom") Jobim, comprises the landmark early Brazilian recordings of the composer, spanning the first decade of his career; the historic albums Jobim participated in making and a quantity of his songs - 78s and singles - recorded by popular Brazilian singers of the day. Taking much of his inspiration from nature, Jobim's music has been described as the embodiment of Brazil itself and may be considered a metaphor for the optimism of a nation that was at the time enjoying a brief period of Democracy. To a Brazilian popular music scene weighed-down by heavily orchestrated melodrama, Jobim's music came as a breath of fresh air, bringing lightness, a deceptive simplicity, space, subtlety and understatement. Whether writing alone, or with partners such as Billy Blanco, Newton Mendonça, Dolores Duran, Luiz BonfĂĄ, or, most fruitfully and enduringly, with the poet Vinicius de Moraes, Jobim was central to a Latin-American musical revolution that would have global implications. Jobim's musical viewpoint - a lyricism born largely of his love of Chopin, Debussy, Ravel, Stravinsky and the music of his fellow-countryman Heitor Villa-Lobos - took form in the early fifties, the trajectory of his career apparent from his first hit, the delightfully breezy LĂșcio Alves-Dick Farney duet, Teresa da praia, through the panoramic Sinfonia do Rio de Janeiro, a model of artistic collaboration and in it's harmonic and melodic properties, a pre-echo of bossa nova; the beautiful songs he wrote for the Orfeu da Conceiçao theatre production, Jobim's first collaboration with Vinicius, from which emerged the popular "Se todos fossem iguais a vocĂȘ" (Someone to Light Up My Life); and Cançao Do Amor Demais, the programme of Tom-Vinicius compositions sung by Elizete Cardoso which represents the transitional stage between samba-cançao and bossa nova. On this recording, briefly, for the first time, we hear the guitar of Joao Gilberto. In 1959, Chega de saudade changed everything. Produced and arranged by Jobim, the album's twelve songs are the blueprint for bossa nova and the turning point for Brazilian culture. Joao Gilberto's voice is intimate and serene and he proposed an entirely new approach to the guitar, an audacious refinement of the essentials of the samba rhythm, the irresistible force of 500 percussionists in miniature; a breathtaking act of modernist art. Time was when the young Jobim had needed to peddle his compositions to local recording artists, now, following the success of Chega de saudade, singers beat a path to his door, pleading for songs. Some artists devoted entire albums to Jobim repertoire. Silvia Telles established herself early on as the foremost interpreter of the composer's work and many of her recordings deserve to be regarded as definitive. By contrast, the soprano Lenita Bruno viewed Jobim from an art song perspective, achieving a sublime result that is a remarkable showcase both for her voice and for the arrangements of her husband Leo Peracchi, one of great modernisers of popular music orchestration. In 1958, Juscelino Kubitschek, the President of Brazil, asked Tom and Vinicius to compose a symphonic suite to be used at the opening ceremony of Brasilia, a city designed by Oscar Niemeyer and Lucio Costa, which was to be built in the state of GoiĂĄs on the central plateau. Brasilia would be inaugurated as the nation's new capital in April 1960. Neimeyer's vision would be one of history's boldest, most dramatic architectural statements that for Brazil was intended to represent a new vision for the future. The composers responded with a symphonic poem for full orchestra in five movements involving themes inspired by Brazilian folk melodies and birdsong; Stravinsky and Villa-lobos. If one song can be said to have made bossa nova and Tom Jobim's name famous the world over, it was Garota de Ipanema (The Girl from Ipanema). The very first recording of this essay in sensuality was made by the fine Brazilian singer Pery Ribeiro in 1962 (Astrud Gilberto's sandy million-selling hit would be recorded in March of the following year). Over the ensuing decades, the composition has been interpreted by a legion of international artists; the second most recorded song in pop history after Lennon & McCartney's Yesterday
5013929335837

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Format: CD
Label: EL RECORDS
Rel. Date: 06/25/2021
UPC: 5013929335837

Mountains The Sun & The Sea: Art Of Antonio Carlos
Artist: Mountains The Sun & The Sea: Art Of Antonio Carlos
Format: CD
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DISC: 1

1. Teresa Da Praia - LĂșcio Alves ; Dick Farney
2. Sinfonia Do Rio de Janeiro: Abertura - Dick Farney / Hino Ao Sol - Dick Farney / Coisas Do Dia - Os Cariocas / Matei-Me No Traba
3. Arpoador
4. Noites Do Rio (Rio Nights)
5. O Samba de Amanha (Tomorrow's Samba)
6. Hino Ao Sol (Ode to the Sun)
7. Descendo O Morro (Descending the Hill)
8. O Que Vai Ser de Mim? - Nora Ney
9. Se É Por Falta de Adeus - Dóris Monteiro
10. Engano - DĂłris Monteiro
11. Vem Viver Ao Meu Lado - Gilda de Barros
12. SO Saudade - Claudia Moreno
13. Se Todos Fossem Iguais a VocĂȘ - Norma Suely
14. Sucedeu Assim - Agostinho Dos Santos
15. Por Causa de VocĂȘ - Vera Lucia
16. É Preciso Dizer Adeus - Sonia Dutre
17. Por Toda Minha Vida - Carlos José
18. A Felicidade- Carlos Augusto
19. Chega de Saudade - Trio NagĂŽ
20. Meditaçao - Neusa Maria
21. Janelas Abertas - Jandira Gonçalves (Anita Brunette)
22. Esquecendo VocĂȘ - Pery Ribeiro ; Luiz BonfĂĄ
23. Andam Dizendo - Elza Laranjeira
24. Para Nao Sofrer - Jorginho
25. Samba Do Aviao (Song of the Jet) - Os Cariocas
26. Ouverture
27. Monologo de Orfei
28. Um Nome de Mulher
29. Se Todos Fossem Iguais a Voce
30. Mulher, Sempre Mulher
31. Eu E O Meu Amor
32. Lamento No Morro
33. Chega de Saudade
34. Serenata Do Adeus
35. As Praias Desertas
36. Caminho de Pedra
37. Luciana
38. Janelas Abertas
39. Eu Nao Existo Sem Vocé
40. Outra Vez
41. Medo de Amar
42. Estrada Branca
43. Vida Bela
44. Modinha
45. Cançao Do Amor Demais
46. A Felicidade - Agostinho Dos Santos
47. Manha de Carnaval (Morning of the Carnival) - Agostinho Dos Santos ; Luiz BonfĂĄ
48. Scene Du Lever Du Soleil - Luiz BonfĂĄ
49. Samba de Orfeo - Luiz BonfĂĄ
50. Samba de Orfeo - Pery Ribeiro
51. A Felicidade - Agostinho Dos Santos (Tom Jobim: Piano)
52. A Felicidade
53. Manha de Carnaval
54. O Nosso Amor
55. Dindi - Agostinho Dos Santos
56. Estrada Do Sol - LĂșcio Alves
57. Chega de Saudade
58. Lobo Bobo
59. Brigas, Nunca Mais
60. HO-BA-LA-LA
61. Saudade FEZ Um Samba
62. Maria Ninguém
63. Desafinado
64. Rosa Morena
65. Morena Boca de Ouro
66. Bim Bom
67. Aos PÉS Da Cruz
68. E Luxo SO
69. Dindi
70. De VocĂȘ, Eu Gosto
71. Discussao
72. Sem VocĂȘ
73. Fotografia
74. Janelas Abertas
75. Demais
76. O Que Tinha de Ser
77. A Felicidade
78. Canta, Canta Mais
79. SO Em Teus Braços
80. Esquecendo VocĂȘ
81. Eu Preciso de Voce
82. Eu Sei Que Vou Te Amar
83. Samba Torto
84. Corcovado
85. Samba de Uma Nota SO
86. Por Causa de VocĂȘ
87. Sucedeu Assim
88. Se Todoos Fossem Iguais a VocĂȘ
89. Foi a Noite
90. Por Toda a Minha Vida
91. Serenata Do Adeus
92. Estrada Branca
93. Soneto de Separaçao
94. Valsa de EurĂ­dice
95. Cançao Do Amor Demais
96. As Praias Desertas
97. Eu Sei Que Vou Te Amar
98. Canta, Canta Mais
99. Modinha
100. Cai a Tarde
101. Sem VocĂȘ
102. Eu Nao Existo Sem VocĂȘ
103. O Planalto Deserto (The Deserted Plateau)
104. O Homen (Humanity)
105. A Chegada Do Candangos
106. (Arrival of the "Candangos")
107. O Trabalho E a Constructao
108. (The Work and the Construction)
109. Coral (Choir)
110. Garota de Ipanema - Pery Ribeiro
111. Insensatez - Alaide Costa
112. O Morro Nao Tem Vez - Joao Donato

More Info:

THE MOUNTAINS, THE SUN AND THE SEA: The Art of AntĂŽnio Carlos ("Tom") Jobim, comprises the landmark early Brazilian recordings of the composer, spanning the first decade of his career; the historic albums Jobim participated in making and a quantity of his songs - 78s and singles - recorded by popular Brazilian singers of the day. Taking much of his inspiration from nature, Jobim's music has been described as the embodiment of Brazil itself and may be considered a metaphor for the optimism of a nation that was at the time enjoying a brief period of Democracy. To a Brazilian popular music scene weighed-down by heavily orchestrated melodrama, Jobim's music came as a breath of fresh air, bringing lightness, a deceptive simplicity, space, subtlety and understatement. Whether writing alone, or with partners such as Billy Blanco, Newton Mendonça, Dolores Duran, Luiz BonfĂĄ, or, most fruitfully and enduringly, with the poet Vinicius de Moraes, Jobim was central to a Latin-American musical revolution that would have global implications. Jobim's musical viewpoint - a lyricism born largely of his love of Chopin, Debussy, Ravel, Stravinsky and the music of his fellow-countryman Heitor Villa-Lobos - took form in the early fifties, the trajectory of his career apparent from his first hit, the delightfully breezy LĂșcio Alves-Dick Farney duet, Teresa da praia, through the panoramic Sinfonia do Rio de Janeiro, a model of artistic collaboration and in it's harmonic and melodic properties, a pre-echo of bossa nova; the beautiful songs he wrote for the Orfeu da Conceiçao theatre production, Jobim's first collaboration with Vinicius, from which emerged the popular "Se todos fossem iguais a vocĂȘ" (Someone to Light Up My Life); and Cançao Do Amor Demais, the programme of Tom-Vinicius compositions sung by Elizete Cardoso which represents the transitional stage between samba-cançao and bossa nova. On this recording, briefly, for the first time, we hear the guitar of Joao Gilberto. In 1959, Chega de saudade changed everything. Produced and arranged by Jobim, the album's twelve songs are the blueprint for bossa nova and the turning point for Brazilian culture. Joao Gilberto's voice is intimate and serene and he proposed an entirely new approach to the guitar, an audacious refinement of the essentials of the samba rhythm, the irresistible force of 500 percussionists in miniature; a breathtaking act of modernist art. Time was when the young Jobim had needed to peddle his compositions to local recording artists, now, following the success of Chega de saudade, singers beat a path to his door, pleading for songs. Some artists devoted entire albums to Jobim repertoire. Silvia Telles established herself early on as the foremost interpreter of the composer's work and many of her recordings deserve to be regarded as definitive. By contrast, the soprano Lenita Bruno viewed Jobim from an art song perspective, achieving a sublime result that is a remarkable showcase both for her voice and for the arrangements of her husband Leo Peracchi, one of great modernisers of popular music orchestration. In 1958, Juscelino Kubitschek, the President of Brazil, asked Tom and Vinicius to compose a symphonic suite to be used at the opening ceremony of Brasilia, a city designed by Oscar Niemeyer and Lucio Costa, which was to be built in the state of GoiĂĄs on the central plateau. Brasilia would be inaugurated as the nation's new capital in April 1960. Neimeyer's vision would be one of history's boldest, most dramatic architectural statements that for Brazil was intended to represent a new vision for the future. The composers responded with a symphonic poem for full orchestra in five movements involving themes inspired by Brazilian folk melodies and birdsong; Stravinsky and Villa-lobos. If one song can be said to have made bossa nova and Tom Jobim's name famous the world over, it was Garota de Ipanema (The Girl from Ipanema). The very first recording of this essay in sensuality was made by the fine Brazilian singer Pery Ribeiro in 1962 (Astrud Gilberto's sandy million-selling hit would be recorded in March of the following year). Over the ensuing decades, the composition has been interpreted by a legion of international artists; the second most recorded song in pop history after Lennon & McCartney's Yesterday