He was a primary force behind the creation of the bossa nova style, and his songs have been performed by many singers and instrumentalists within Brazil and internationally.
In 1965 his album Getz/Gilberto was the first jazz album to win the Grammy Award for Album of the Year. It also won for Best Jazz Instrumental Album – Individual or Group and for Best Engineered Album, Non-Classical. The album's single "Garota de Ipanema" ("The Girl from Ipanema"), one of the most recorded songs of all time, won the Record of the Year. Jobim has left many songs that are now included in jazz and pop standard repertoires. The song "Garota de Ipanema" has been recorded over 240 times by other artists. His 1967 album with Frank Sinatra, Francis Albert Sinatra & Antônio Carlos Jobim, was nominated for Album of the Year in 1968.
Antônio Carlos Jobim was born in the middle-class district of Tijuca in Rio de Janeiro. His father, Jorge de Oliveira Jobim (São Gabriel, Rio Grande do Sul, April 23, 1889 – July 19, 1935), was a writer, diplomat, professor and journalist. He came from a prominent family, being the great nephew of José Martins da Cruz Jobim, senator, privy councillor and physician of Emperor Dom Pedro II. While studying medicine in Europe, José Martins added Jobim to his last name, paying homage to the village where his family came from in Portugal, the parish of Santa Cruz de Jovim, Porto. His mother, Nilza Brasileiro de Almeida (c. 1910 – November 17, 1989), was of Indigenous Brazilian descent from Northeastern Brazil.
When Antônio was still an infant, his parents separated and his mother moved with her children (Antônio Carlos and his sister Helena Isaura, born February 23, 1931) to Ipanema, the beachside neighborhood the composer would later celebrate in his songs. In 1935, when the elder Jobim died, Nilza married Celso da Frota Pessoa (died February 2, 1979), who would encourage his stepson's career. He was the one who gave Jobim his first piano. As a young man of limited means, Jobim earned his living by playing in nightclubs and bars and later as an arranger for a recording label, before starting to achieve success as a composer.
Jobim's musical roots were planted firmly in the work of Pixinguinha, the legendary musician and composer who began modern Brazilian music in the 1930s. Among his teachers were Lúcia Branco and, from 1941 on, Hans-Joachim Koellreutter, a German composer who lived in Brazil and introduced atonal and twelve-tone composition in the country. Jobim was also influenced by the French composers Claude Debussy and Maurice Ravel, and by the Brazilian composers Heitor Villa-Lobos and Ary Barroso. The bossa nova guitar style in Jobim's music has become firmly entrenched in jazz culture. Among many themes, his lyrics talked about love, self-discovery, betrayal, joy and especially about the birds and natural wonders of Brazil, like the "Mata Atlântica" forest, characters of Brazilian folklore and his home city of Rio de Janeiro.
In early 1994, after finishing his album Antonio Brasileiro, Jobim complained to his doctor, Roberto Hugo Costa Lima, of urinary problems. He underwent an operation at Mount Sinai Hospital in New York City on December 2, 1994. On December 8, while recovering from surgery, he had a cardiac arrest caused by a pulmonary embolism, and two hours later another cardiac arrest, from which he died. He was survived by his children and grandchildren. His last album, Antonio Brasileiro, was released posthumously three days after his death.
His body lay in state until given a proper burial on December 20, 1994. He is buried in the Cemitério São João Batista in Rio de Janeiro.
Change Partners
Antônio Carlos Jobim Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You have danced with him since the music began.
Won't you change partners and dance with me?
Must you dance quite so close with your lips touching his face?
Can't you see
I'm longing to be in his place?
Won't you change partners and dance with me?
Ask him to sit this one out. while you're alone,
You've been locked in his arms ever since heaven-knows-when.
Won't you change partners and then,
You may never want to change partners again.
In "Change Partners," Antonio Carlos Jobim expresses his yearning for a chance to dance with someone he desires deeply, who is already engaged in a dance with another fortunate man. Throughout the lyrics, Jobim questions the choice of his love interest to continuously dance with this particular man and urges them to consider changing partners and dancing with him instead.
The lyrics suggest that the woman has been dancing exclusively with this man since the music started playing. Jobim wonders why she has remained committed to dancing with him for so long and implies a desire for her to break this pattern and dance with him instead. He sees a potential opportunity for them to share an intimate dance together, hoping she will consider changing partners and giving him a chance.
Jobim expresses his longing to be in the position of the man she currently dances with, implying a strong attraction and desire for a deeper connection. He yearns to be close to her, even suggesting his lips touching her face as they dance. The lyrics reveal an emotional plea from Jobim, unable to bear the thought of someone else experiencing the closeness and intimacy he craves with this woman. He hopes she will recognize his feelings and change partners, granting him the opportunity to fulfill his desires.
Seeking to create an opportunity for themselves, Jobim suggests asking the current dance partner to sit out. By instructing the waiter to convey that this man is needed on the telephone, he hopes to create a moment where he can offer himself as an alternative partner. This line shows Jobim's determination and desire to have a chance with this woman, regardless of the obstacles standing in his way.
Finally, Jobim points out that his love interest has been locked in the arms of her current dance partner for an extended period. He reiterates his plea for her to consider changing partners with a sense of urgency. He is hopeful that, if given the opportunity for a dance with him, she may never want to change partners again, suggesting his eagerness to provide a fulfilling and long-lasting connection.
In "Change Partners," Jobim, driven by his intense longing, expresses his desire for a chance to dance intimately with the object of his affection. Through his passionate lyrics, he implores her to break the cycle and change partners, presenting himself as an alternative who can offer the connection he so deeply craves.
Line by Line Meaning
Must you dance every dance with the same fortunate man?
Do you really have to dance every dance with the same lucky man?
You have danced with him since the music began.
You've been dancing with him since the music started.
Won't you change partners and dance with me?
Wouldn't you consider changing partners and dancing with me?
Must you dance quite so close with your lips touching his face?
Do you have to dance so intimately with your lips touching his face?
Can't you see I'm longing to be in his place?
Don't you realize how much I desire to be in his position?
Won't you change partners and dance with me?
Wouldn't you agree to change partners and dance with me?
Ask him to sit this one out while you're alone,
Request him to skip this dance while you're by yourself,
I'll tell the waiter to tell him he's wanted on the telephone.
I'll instruct the waiter to inform him that he's needed on the telephone.
You've been locked in his arms ever since heaven-knows-when.
You've been trapped in his embrace for who knows how long.
Won't you change partners and then,
Wouldn't you be willing to switch partners and then,
You may never want to change partners again.
You might never desire to change partners again.
Lyrics © IMAGEM U.S. LLC, Universal Music Publishing Group
Written by: IRVING BERLIN
Lyrics Licensed & Provided by LyricFind
@robertoangelbarsottibrassa7608
Must you dance every dance with the same fortunate man?
You have danced with him since the music began
Won't you change partners and dance with me?
Must you dance quite so close with your lips touching his face?
Can't you see, I'm longing to be in his place?
Won't you change partners and dance with me?
Ask him to sit this one out, while you're alone
I'll tell the waiter to tell him he's wanted on the telephone
You've been locked in his arms ever since heaven-knows-when
Won't you change partners and then
You may never want to change partners again
Has de bailar cada baile con el mismo hombre afortunado
Has bailado con él desde que empezó la música
No harías un cambio de parejas y bailarías conmigo
Has de bailar tan cerca, con tus labios tocando su cara
¿No puedes ver que anhelo estar en su lugar?
No harías un cambio de parejas y bailarías conmigo
Dile que te excuse un momento, y mientras te quedas asolas
Le diré al camarero que le diga que le requieren al teléfono
Has estado atrapada
@breakingcycles741
I think I've played this song 100 times in a row at some point. Frank's voice mixed with that Bossa nova rhythm is just heaven to the ears.
@williamhay812
It really is
@tiffsaver
I only recently discovered this song, and you're right, I just can't stop listening to it.
@sparkyperson
Frank Sinatra at his very best. Jobim, in a supporting role, complements him perfectly. Their album together is flawless in every detail. Two men at the peak of their talent, singing in a setting requiring no other staging or distractions.
@shariallison5579
absolutely except Jobim is as good actually better than Frank in my opinion as he wrote most of his songs
@braianlemos
@@shariallison5579 Além de ser maestro, pianista, e arranjador.
@Cruz_ignatius
He was better when he was with Tommy Dorsey
@sparkyperson
@@Cruz_ignatius Different people have different opinions, and it's okay to respect all of them.
@Marcos_1983
wf you are a ignorant fool, it was frank that requested Jobim to play with him.
@PeterStrachanMusic
What a song.. What a guitarist.. What a singer..