Voici le premier DVD de La Leçon de Jazz d'Antoine Hervé, consacré à Antonio Carlos Jobim. Antonio Carlos Jobim est considéré à travers le monde comme l’un des pères de la Bossa Nova. L’originalité rythmique et la richesse harmonique de ses compositions ont immédiatement influencés les improvisateurs du jazz. Ses sources d’inspiration proviennent de compositeurs tels que Frédéric Chopin, Claude Debussy ou encore Bill Evans. Pour ce premier DVD La Leçon de Jazz, Antoine Hervé a demandé au chanteur Rolando Faria, ex « Les Étoiles », carioca de naissance, de venir mettre à contribution son immense talent musical et poétique. Ensemble, ils vont nous raconter la fabuleuse histoire de la Bossa Nova. Bienvenue dans l’âge d’or du Rio des années cinquante!
Direct from Brazil comes this deeply appreciative musical tribute to Antonio Carlos Jobim (1927-1994), co-founder and leading composer of the Bossa Nova.
With over four hundred songs to his credit, Jobim virtually single-handedly brought the Bossa Nova to the world, where it became a staple ingredient in the jazz cookbook. Jobim's new sound adapted the rhythmic variety and percussive excitement of the samba to the intimacy of syncopated guitar, while echoing the melodies and harmonies of cool jazz.
Passarim is Jobim's major statement of the '80s, emerging during a time when his concerns were turning increasingly toward the Planet Earth. The title song is one of Jobim's most haunting creations, a cry of pain about the the destruction of the Brazilian rain forest that resonates in the memory for hours. Also, by this time, Jobim had resumed touring with a large group containing friends and family, and they carry a great deal of the load here, with lots of airy female backup vocals, two worthy songs by Jobim's multi-talented son Paulo, and another by flutist/singer Danilo Caymmi.
On Jobim's second A&M album, Eumir Deodato takes over the chart-making tasks, and the difference between him and Claus Ogerman is quite apparent in the remake of "The Girl From Ipanema": the charts are heavier, more dramatic, and structured. Sometimes the arrangements roll back so one can hear, say, the dancing multi-phonic flute of wildman Hermeto Pascoal on "Tema Jazz," and the rhythms often veer away from the familiar ticking of the bossa nova.