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.
Favela
Antônio Carlos Jobim Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
O morro não tem vez, E o que ele fez já foi demais
Mas olhem bem vocês, Quando derem vez ao morro, Toda a cidade vai cantar
Morro pede passagem, Morro quer se mostrar, Abram alas pro morro, Tam- bo- rim vai falar
É um, é dois, é três, É cem, é mil a batu- car
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The song Favela by Antônio Carlos Jobim laments the discrimination and neglect of the marginalized communities, represented by the favelas (slums) in Rio de Janeiro. The opening lyrics, "O morro não tem vez, e o que ele fez já foi demais" which means "The hillside has no chance, and what it has done is too much already," expresses the frustration of the voiceless favela inhabitants who have been pushed to the limits of poverty, violence, and lack of basic amenities. The song continues with a plea for the city to give the morro (hillside) a chance to be heard, acknowledging the potential and creativity of its people. The rhythmic beat of the song shifts to samba, reflecting the festive and vibrant energy of the favela, as the singer calls for the city to open up for the morro, showcasing its cultural richness with the drums (tamborim) as its spokesperson. The final repetition of the chorus, "O morro não tem vez, mas se derem vez ao morro, toda a cidade vai cantar," meaning "The hillside has no chance, but if the hillside gets a chance, the whole city will sing," emphasizes the transformative power of inclusion and the value of diversity in enriching the entire community.
Line by Line Meaning
O morro não tem vez, E o que ele fez já foi demais
The hill, synonymous with the lower class, has been ignored and disenfranchised for too long, despite its notable contributions to society.
Mas olhem bem vocês, Quando derem vez ao morro, Toda a cidade vai cantar
If only people would take the time to listen, the talents and culture of the hill will flourish and have a positive impact on the rest of society.
Morro pede passagem, Morro quer se mostrar, Abram alas pro morro, Tam- bo- rim vai falar
The hill is no longer content with being ignored and wants to showcase its music and art to the rest of the city. The tamborim will be the messenger of this message.
É um, é dois, é três, É cem, é mil a batu- car
The hill's music is ubiquitous and can be heard and felt by everyone, no matter their social standing or background.
O morro não tem vez, Mas se derem vez ao morro, Toda a cidade vai cantar
Once the hill is given a chance, its uniqueness and creativity will shine and unite the entire city in song and celebration.
Contributed by Dominic C. Suggest a correction in the comments below.
Richard Norris
on Samba Do Soho
It's "Diadem" which is a fancy headband. Also, I believe this song was written by Jobim's son, Paolo.