Joao Gilberto Music

This bottom line about Joao Gilberto is that no one will ever stop anything from rushing a melody like his voice can.

If that wasn't enough, his guitar and his glorious compositions are stellar, his renditions of Brazilian classics and Claus Ogerman's strings, in Amoroso, are without a blemish.

This is two-albums-in-one kind of thing, and for a change, you get two momentous albums. The second half, Joao shares the studio with Caetano Veloso, Gilberto Gil, Gal Costa and Maria Bethania, which guarantees that Brasil--the second album--is a treat, one of those occasions that thankfully gets recorded.

As big as Caetano and the rest of Tropicalia's first row are, the music is a pledge to Gilberto, nothing is more important than the Bossa he sings, right now, so many years ago.

Fantastic CD. Great orchestrations and concept. Wonderful songs. Singer creates a nice mood and has interesting rhythmic concept of deliberately not staying exactly with the beat at times.

i will focus on the brasil part in this review. as other reviewers have noted, joao was at his finest on some amoroso tracks but the production is unbearable at times.
the voices on brasil are familiar to anyone who is a fan of brazilian music: gilberto gil, caetano veloso, joao gilberto, and maria bethania are among the greatest superstars all time of brazilian music individually. and on this album they all come together to play joao gilberto's style of music. i'm not sure about bethania but gil and caetano were avid joao fans. however they had never tried to replicate his sound. tropicalia's musical influences certainly included joao but were nothing like his music. in this 1981 release, we here straight bossa nova. joao plays beautifully. the production at times is not optimal but at other times is excellent. hearing gil and caetano sing in such a restrained, soft fashion is impressive considering the vocals that they had used in their career up to that point.
anyways, this album certainly pays tribute to brasil and brazilian music. disse alguem, the simons and marks jazz standard all of me in portuguese lyrics, is the one exception. the vocals are stunning, the bossa rhythms crisp and refreshing, the sound soft as can be. this is one of my favorite albums.

Joao Gilberto (b. 1931) first came on to the scene with his debut album of 1958 titled "Chega de Saudade", introducing a new style of jazz samba called bossa nova. Gilberto is credited as the innovator of the bossa nova sound that sprung to life out of Brazil. We all likely own the 1965 classic Getz/Gilberto album, featuring his then wife Astrud on vocals along with Stan Getz and Antonio Carlos Jobim.

This album is good to own because you get two albums for the price of one, Gilberto's "Amoroso" (1976) and "Brasil" (1981). These albums showcase Joao in his prime, vibrant and full of life. "Brasil" is a much more accessible album to listen to than the previous selection, and showcases fellow Brazilian musicians Gilberto Gil and Caetano Veloso. What an album to relax to and forget about life.

This cd was the first of many brazilian bossa novas I've bought. I heard the Girl from Ipanema on a complilation jazz cd and was hooked then. I don't aggree w/ the above reviewers who don't like the orchestral arrangements? Are you nuts? This album is fantastic! Its actually two albums, and I love every song. I grew up listening to mostly r/b and this style is second only to that for me.
I had never heard music so beautiful as in (portueguese'.) One of my professors suggested that I give a listen to international music, boy was she right.
I have migraines so I put on Joao/Astrud/Stan Getz to relax and release the pain. They are all so soothing and enjoyable. I also suggest you get" Getz/Gilberto: live at Carnegie Hall" Astrud appears on it as well. Antonio Carlos Jobim: Wave, "Brazilian Romance" all by Verve records.

This bottom line about Joao Gilberto is that no one will ever stop anything from rushing a melody like his voice can.

If that wasn't enough, his guitar and his glorious compositions are stellar, his renditions of Brazilian classics and Claus Ogerman's strings, in Amoroso, are without a blemish.

This is two-albums-in-one kind of thing, and for a change, you get two momentous albums. The second half, Joao shares the studio with Caetano Veloso, Gilberto Gil, Gal Costa and Maria Bethania, which guarantees that Brasil--the second album--is a treat, one of those occasions that thankfully gets recorded.

As big as Caetano and the rest of Tropicalia's first row are, the music is a pledge to Gilberto, nothing is more important than the Bossa he sings, right now, so many years ago.

Fantastic CD. Great orchestrations and concept. Wonderful songs. Singer creates a nice mood and has interesting rhythmic concept of deliberately not staying exactly with the beat at times.

i will focus on the brasil part in this review. as other reviewers have noted, joao was at his finest on some amoroso tracks but the production is unbearable at times.
the voices on brasil are familiar to anyone who is a fan of brazilian music: gilberto gil, caetano veloso, joao gilberto, and maria bethania are among the greatest superstars all time of brazilian music individually. and on this album they all come together to play joao gilberto's style of music. i'm not sure about bethania but gil and caetano were avid joao fans. however they had never tried to replicate his sound. tropicalia's musical influences certainly included joao but were nothing like his music. in this 1981 release, we here straight bossa nova. joao plays beautifully. the production at times is not optimal but at other times is excellent. hearing gil and caetano sing in such a restrained, soft fashion is impressive considering the vocals that they had used in their career up to that point.
anyways, this album certainly pays tribute to brasil and brazilian music. disse alguem, the simons and marks jazz standard all of me in portuguese lyrics, is the one exception. the vocals are stunning, the bossa rhythms crisp and refreshing, the sound soft as can be. this is one of my favorite albums.

Joao Gilberto (b. 1931) first came on to the scene with his debut album of 1958 titled "Chega de Saudade", introducing a new style of jazz samba called bossa nova. Gilberto is credited as the innovator of the bossa nova sound that sprung to life out of Brazil. We all likely own the 1965 classic Getz/Gilberto album, featuring his then wife Astrud on vocals along with Stan Getz and Antonio Carlos Jobim.

This album is good to own because you get two albums for the price of one, Gilberto's "Amoroso" (1976) and "Brasil" (1981). These albums showcase Joao in his prime, vibrant and full of life. "Brasil" is a much more accessible album to listen to than the previous selection, and showcases fellow Brazilian musicians Gilberto Gil and Caetano Veloso. What an album to relax to and forget about life.

This cd was the first of many brazilian bossa novas I've bought. I heard the Girl from Ipanema on a complilation jazz cd and was hooked then. I don't aggree w/ the above reviewers who don't like the orchestral arrangements? Are you nuts? This album is fantastic! Its actually two albums, and I love every song. I grew up listening to mostly r/b and this style is second only to that for me.
I had never heard music so beautiful as in (portueguese'.) One of my professors suggested that I give a listen to international music, boy was she right.
I have migraines so I put on Joao/Astrud/Stan Getz to relax and release the pain. They are all so soothing and enjoyable. I also suggest you get" Getz/Gilberto: live at Carnegie Hall" Astrud appears on it as well. Antonio Carlos Jobim: Wave, "Brazilian Romance" all by Verve records.

This bottom line about Joao Gilberto is that no one will ever stop anything from rushing a melody like his voice can.

If that wasn't enough, his guitar and his glorious compositions are stellar, his renditions of Brazilian classics and Claus Ogerman's strings, in Amoroso, are without a blemish.

This is two-albums-in-one kind of thing, and for a change, you get two momentous albums. The second half, Joao shares the studio with Caetano Veloso, Gilberto Gil, Gal Costa and Maria Bethania, which guarantees that Brasil--the second album--is a treat, one of those occasions that thankfully gets recorded.

As big as Caetano and the rest of Tropicalia's first row are, the music is a pledge to Gilberto, nothing is more important than the Bossa he sings, right now, so many years ago.

Fantastic CD. Great orchestrations and concept. Wonderful songs. Singer creates a nice mood and has interesting rhythmic concept of deliberately not staying exactly with the beat at times.

i will focus on the brasil part in this review. as other reviewers have noted, joao was at his finest on some amoroso tracks but the production is unbearable at times.
the voices on brasil are familiar to anyone who is a fan of brazilian music: gilberto gil, caetano veloso, joao gilberto, and maria bethania are among the greatest superstars all time of brazilian music individually. and on this album they all come together to play joao gilberto's style of music. i'm not sure about bethania but gil and caetano were avid joao fans. however they had never tried to replicate his sound. tropicalia's musical influences certainly included joao but were nothing like his music. in this 1981 release, we here straight bossa nova. joao plays beautifully. the production at times is not optimal but at other times is excellent. hearing gil and caetano sing in such a restrained, soft fashion is impressive considering the vocals that they had used in their career up to that point.
anyways, this album certainly pays tribute to brasil and brazilian music. disse alguem, the simons and marks jazz standard all of me in portuguese lyrics, is the one exception. the vocals are stunning, the bossa rhythms crisp and refreshing, the sound soft as can be. this is one of my favorite albums.

Joao Gilberto (b. 1931) first came on to the scene with his debut album of 1958 titled "Chega de Saudade", introducing a new style of jazz samba called bossa nova. Gilberto is credited as the innovator of the bossa nova sound that sprung to life out of Brazil. We all likely own the 1965 classic Getz/Gilberto album, featuring his then wife Astrud on vocals along with Stan Getz and Antonio Carlos Jobim.

This album is good to own because you get two albums for the price of one, Gilberto's "Amoroso" (1976) and "Brasil" (1981). These albums showcase Joao in his prime, vibrant and full of life. "Brasil" is a much more accessible album to listen to than the previous selection, and showcases fellow Brazilian musicians Gilberto Gil and Caetano Veloso. What an album to relax to and forget about life.

This cd was the first of many brazilian bossa novas I've bought. I heard the Girl from Ipanema on a complilation jazz cd and was hooked then. I don't aggree w/ the above reviewers who don't like the orchestral arrangements? Are you nuts? This album is fantastic! Its actually two albums, and I love every song. I grew up listening to mostly r/b and this style is second only to that for me.
I had never heard music so beautiful as in (portueguese'.) One of my professors suggested that I give a listen to international music, boy was she right.
I have migraines so I put on Joao/Astrud/Stan Getz to relax and release the pain. They are all so soothing and enjoyable. I also suggest you get" Getz/Gilberto: live at Carnegie Hall" Astrud appears on it as well. Antonio Carlos Jobim: Wave, "Brazilian Romance" all by Verve records.

great album..melancholic and simply, joao sounds good even if he is just reading a newspaper..he is the best in bossa nova
i highly recommended.

My second favorite is Live in Montreux. I just listened to Joao's new one Live in Tokyo and I must say, this album -Ao Vivo- is far superior, not in recording quality (although it's really good) but in FEELING. It's what they call the "beautiful sadness". I listened to it when I was really down and out, and it seemed to me that Joao was like a benevolent angel- consoling me, with Portugese lyrics I couldn't understand! That's the power of music!

As a follower of Joao's since the mid-'60s, I still had no idea this one was out there -- and has been since '95, apparently (blush).

I was tipped off, raced to get it, and home to spin it. It's Joao, alright, and he's got to be around 70. (Because I'm 60.) The oxymoronish, incredible "masculine intimacy" of Joao's voice prevails, reigns, and his unique guitar chords are marvelously, innovatively all over the place. His beat is inimitable, as always. Just Joao and his guitar. The way it should be.

It's a Sony production. No liner notes (too bad). Cover says "it's live." ("Ao vivo"). Yet there was applause following some songs, a certain indication of "live"; but no intermittent anything on others. Yes, in several places he goes right from one song into the next -- a trilogy or two or three -- as designed.

Biggest disappointment: Raggedy technical transitions from the endings of some songs to the beginnings of the next in (too) many instances. Not Joao's fault. Clumsy studio engineering, in my humble opinion. Makes me think he had no control over the production of this CD. His standards are lofty. Impeccable. It's like someone taped it, ran out the door, and put a CD out in a week, unbeknownst to Joao.

Still, da man's da man (and part musical god). Now if he and his equally sexy-sounding daughter, Gebel Gilberto, (she with her own neat, nifty, new, soft, sensuous [if over-engineered] CD "Tanto Tempo") would team up on, say, a duet CD combining, overlapping, intertwining "Este Se Olhar" with "Sim, Promesas Fiz" and some other guy/gal standards, wow! Que coisa! :-)

Meanwhile, this'll do as a sunset salute to a great career. Thanks for the inspiration and memories, Joao! Voce e ainda de mais!

As a follower of Joao's since the mid-'60s, I still had no idea this one was out there -- and has been since '95, apparently (blush).

I was tipped off, raced to get it, and home to spin it. It's Joao, alright, and he's got to be around 70. (Because I'm 60.) The oxymoronish, incredible "masculine intimacy" of Joao's voice prevails, reigns, and his unique guitar chords are marvelously, innovatively all over the place. His beat is inimitable, as always. Just Joao and his guitar. The way it should be.

It's a Sony production. No liner notes (too bad). Cover says "it's live." ("Ao vivo"). Yet there was applause following some songs, a certain indication of "live"; but no intermittent anything on others. Yes, in several places he goes right from one song into the next -- a trilogy or two or three -- as designed.

Biggest disappointment: Raggedy technical transitions from the endings of some songs to the beginnings of the next in (too) many instances. Not Joao's fault. Clumsy studio engineering, in my humble opinion. Makes me think he had no control over the production of this CD. His standards are lofty. Impeccable. It's like someone taped it, ran out the door, and put a CD out in a week, unbeknownst to Joao.

Still, da man's da man (and part musical god). Now if he and his equally sexy-sounding daughter, Bebel Gilberto, (she with her own neat, nifty, new, soft, sensuous [if over-engineered] CD "Tanto Tempo") would team up on, say, a duet CD combining, overlapping, intertwining "Este Se Olhar" with "Sim, Promesas Fiz" and some other guy/gal standards, wow! Que coisa! :-)

Meanwhile, this'll do as a sunset salute to a great career. Thanks for the inspiration and memories, Joao! Voce e ainda de mais!

"Ao Vivo" ("live") is proof that there is beauty in simplicity. João Gilberto is featured here with only his "voz e violao", that is, voice and guitar. His masterful playing of the guitar and his singing that defined the bossa nova movement are a welcome respite in the predominance of mediocrity in popular music today. That several of the songs in this album were written by Antonio Carlos Jobim is no accident. Jobim was the quintessential bossa nova songwriter; Gilberto was his eloquent messenger.

The only drawback on this CD is its lack of liner notes and the careless editing and sequencing of the tracks. Don't let that deter you, though. What really matters is João Gilberto's music.

Whether you understand Portuguese or not is not the question. If you can appreciate sincerity, simplicity and lyricism, then you will appreciate "Ao Vivo" for it speaks to your heart in a language that anyone can understand.

"Ao Vivo" is simply a beautiful album.

great album..melancholic and simply, joao sounds good even if he is just reading a newspaper..he is the best in bossa nova
i highly recommended.

My second favorite is Live in Montreux. I just listened to Joao's new one Live in Tokyo and I must say, this album -Ao Vivo- is far superior, not in recording quality (although it's really good) but in FEELING. It's what they call the "beautiful sadness". I listened to it when I was really down and out, and it seemed to me that Joao was like a benevolent angel- consoling me, with Portugese lyrics I couldn't understand! That's the power of music!

As a follower of Joao's since the mid-'60s, I still had no idea this one was out there -- and has been since '95, apparently (blush).

I was tipped off, raced to get it, and home to spin it. It's Joao, alright, and he's got to be around 70. (Because I'm 60.) The oxymoronish, incredible "masculine intimacy" of Joao's voice prevails, reigns, and his unique guitar chords are marvelously, innovatively all over the place. His beat is inimitable, as always. Just Joao and his guitar. The way it should be.

It's a Sony production. No liner notes (too bad). Cover says "it's live." ("Ao vivo"). Yet there was applause following some songs, a certain indication of "live"; but no intermittent anything on others. Yes, in several places he goes right from one song into the next -- a trilogy or two or three -- as designed.

Biggest disappointment: Raggedy technical transitions from the endings of some songs to the beginnings of the next in (too) many instances. Not Joao's fault. Clumsy studio engineering, in my humble opinion. Makes me think he had no control over the production of this CD. His standards are lofty. Impeccable. It's like someone taped it, ran out the door, and put a CD out in a week, unbeknownst to Joao.

Still, da man's da man (and part musical god). Now if he and his equally sexy-sounding daughter, Gebel Gilberto, (she with her own neat, nifty, new, soft, sensuous [if over-engineered] CD "Tanto Tempo") would team up on, say, a duet CD combining, overlapping, intertwining "Este Se Olhar" with "Sim, Promesas Fiz" and some other guy/gal standards, wow! Que coisa! :-)

Meanwhile, this'll do as a sunset salute to a great career. Thanks for the inspiration and memories, Joao! Voce e ainda de mais!

As a follower of Joao's since the mid-'60s, I still had no idea this one was out there -- and has been since '95, apparently (blush).

I was tipped off, raced to get it, and home to spin it. It's Joao, alright, and he's got to be around 70. (Because I'm 60.) The oxymoronish, incredible "masculine intimacy" of Joao's voice prevails, reigns, and his unique guitar chords are marvelously, innovatively all over the place. His beat is inimitable, as always. Just Joao and his guitar. The way it should be.

It's a Sony production. No liner notes (too bad). Cover says "it's live." ("Ao vivo"). Yet there was applause following some songs, a certain indication of "live"; but no intermittent anything on others. Yes, in several places he goes right from one song into the next -- a trilogy or two or three -- as designed.

Biggest disappointment: Raggedy technical transitions from the endings of some songs to the beginnings of the next in (too) many instances. Not Joao's fault. Clumsy studio engineering, in my humble opinion. Makes me think he had no control over the production of this CD. His standards are lofty. Impeccable. It's like someone taped it, ran out the door, and put a CD out in a week, unbeknownst to Joao.

Still, da man's da man (and part musical god). Now if he and his equally sexy-sounding daughter, Bebel Gilberto, (she with her own neat, nifty, new, soft, sensuous [if over-engineered] CD "Tanto Tempo") would team up on, say, a duet CD combining, overlapping, intertwining "Este Se Olhar" with "Sim, Promesas Fiz" and some other guy/gal standards, wow! Que coisa! :-)

Meanwhile, this'll do as a sunset salute to a great career. Thanks for the inspiration and memories, Joao! Voce e ainda de mais!

"Ao Vivo" ("live") is proof that there is beauty in simplicity. João Gilberto is featured here with only his "voz e violao", that is, voice and guitar. His masterful playing of the guitar and his singing that defined the bossa nova movement are a welcome respite in the predominance of mediocrity in popular music today. That several of the songs in this album were written by Antonio Carlos Jobim is no accident. Jobim was the quintessential bossa nova songwriter; Gilberto was his eloquent messenger.

The only drawback on this CD is its lack of liner notes and the careless editing and sequencing of the tracks. Don't let that deter you, though. What really matters is João Gilberto's music.

Whether you understand Portuguese or not is not the question. If you can appreciate sincerity, simplicity and lyricism, then you will appreciate "Ao Vivo" for it speaks to your heart in a language that anyone can understand.

"Ao Vivo" is simply a beautiful album.

great album..melancholic and simply, joao sounds good even if he is just reading a newspaper..he is the best in bossa nova
i highly recommended.

My second favorite is Live in Montreux. I just listened to Joao's new one Live in Tokyo and I must say, this album -Ao Vivo- is far superior, not in recording quality (although it's really good) but in FEELING. It's what they call the "beautiful sadness". I listened to it when I was really down and out, and it seemed to me that Joao was like a benevolent angel- consoling me, with Portugese lyrics I couldn't understand! That's the power of music!

As a follower of Joao's since the mid-'60s, I still had no idea this one was out there -- and has been since '95, apparently (blush).

I was tipped off, raced to get it, and home to spin it. It's Joao, alright, and he's got to be around 70. (Because I'm 60.) The oxymoronish, incredible "masculine intimacy" of Joao's voice prevails, reigns, and his unique guitar chords are marvelously, innovatively all over the place. His beat is inimitable, as always. Just Joao and his guitar. The way it should be.

It's a Sony production. No liner notes (too bad). Cover says "it's live." ("Ao vivo"). Yet there was applause following some songs, a certain indication of "live"; but no intermittent anything on others. Yes, in several places he goes right from one song into the next -- a trilogy or two or three -- as designed.

Biggest disappointment: Raggedy technical transitions from the endings of some songs to the beginnings of the next in (too) many instances. Not Joao's fault. Clumsy studio engineering, in my humble opinion. Makes me think he had no control over the production of this CD. His standards are lofty. Impeccable. It's like someone taped it, ran out the door, and put a CD out in a week, unbeknownst to Joao.

Still, da man's da man (and part musical god). Now if he and his equally sexy-sounding daughter, Gebel Gilberto, (she with her own neat, nifty, new, soft, sensuous [if over-engineered] CD "Tanto Tempo") would team up on, say, a duet CD combining, overlapping, intertwining "Este Se Olhar" with "Sim, Promesas Fiz" and some other guy/gal standards, wow! Que coisa! :-)

Meanwhile, this'll do as a sunset salute to a great career. Thanks for the inspiration and memories, Joao! Voce e ainda de mais!

As a follower of Joao's since the mid-'60s, I still had no idea this one was out there -- and has been since '95, apparently (blush).

I was tipped off, raced to get it, and home to spin it. It's Joao, alright, and he's got to be around 70. (Because I'm 60.) The oxymoronish, incredible "masculine intimacy" of Joao's voice prevails, reigns, and his unique guitar chords are marvelously, innovatively all over the place. His beat is inimitable, as always. Just Joao and his guitar. The way it should be.

It's a Sony production. No liner notes (too bad). Cover says "it's live." ("Ao vivo"). Yet there was applause following some songs, a certain indication of "live"; but no intermittent anything on others. Yes, in several places he goes right from one song into the next -- a trilogy or two or three -- as designed.

Biggest disappointment: Raggedy technical transitions from the endings of some songs to the beginnings of the next in (too) many instances. Not Joao's fault. Clumsy studio engineering, in my humble opinion. Makes me think he had no control over the production of this CD. His standards are lofty. Impeccable. It's like someone taped it, ran out the door, and put a CD out in a week, unbeknownst to Joao.

Still, da man's da man (and part musical god). Now if he and his equally sexy-sounding daughter, Bebel Gilberto, (she with her own neat, nifty, new, soft, sensuous [if over-engineered] CD "Tanto Tempo") would team up on, say, a duet CD combining, overlapping, intertwining "Este Se Olhar" with "Sim, Promesas Fiz" and some other guy/gal standards, wow! Que coisa! :-)

Meanwhile, this'll do as a sunset salute to a great career. Thanks for the inspiration and memories, Joao! Voce e ainda de mais!

"Ao Vivo" ("live") is proof that there is beauty in simplicity. João Gilberto is featured here with only his "voz e violao", that is, voice and guitar. His masterful playing of the guitar and his singing that defined the bossa nova movement are a welcome respite in the predominance of mediocrity in popular music today. That several of the songs in this album were written by Antonio Carlos Jobim is no accident. Jobim was the quintessential bossa nova songwriter; Gilberto was his eloquent messenger.

The only drawback on this CD is its lack of liner notes and the careless editing and sequencing of the tracks. Don't let that deter you, though. What really matters is João Gilberto's music.

Whether you understand Portuguese or not is not the question. If you can appreciate sincerity, simplicity and lyricism, then you will appreciate "Ao Vivo" for it speaks to your heart in a language that anyone can understand.

"Ao Vivo" is simply a beautiful album.

This two-CD set includes one of the most historically important jazz LPs in Getz/Gilberto and a very good follow-up in Jazz Samba; the two LPs both include "Desafinado"; other than that, there is no overlap in material.

While Getz/Gilberto is justifiably one of the best-known jazz LPs ever-recorded, I was struck by how ragged it is at times. Astrud Gilberto's singing, in particular, displays a pretty poor sense of rhythm, and neither she nor Joao Gilberto has much of a voice. It surprised me that the musicianship was noticeably better on Jazz Samba.

The real reasons for giving this only four stars, however, are the packaging and the price. There are two CDs here, but there's really only enough material for one. Even with the 45 rpm singles versions of "The Girl From Ipanema", "Corcovado", and "Desafinado", which seem just to be cut and spliced from the LP versions, the music comes in under 75 minutes. The package was issued in Korea, and the notes are nearly entirely in Hangul. There is a reprint of the notes from the original Getz/Gilberto LP, but it is all but illegible.

The price, moreover, is much too high for a reissue of two LPs. Those who want a CD version of only one of the LPs can find one for far less money (and including the 45 rpm singles issues) , and buying separate CD versions of both will run to less money than this package.