The daughter of a Brazilian mother and a German father, Gilberto was raised in Rio de Janeiro and moved to the USA in the early 1960s. In her mid-teens, she became part of (her own words) a "musical clan" when she met João Gilberto, whom she described as the clan's musical "guru". She married him a few months later, in 1959. She frequently sang duets with him, or sang while he accompanied her on guitar, and he acted as her musical tutor. She also sang publicly with her husband in a concert at the Rio de Janeiro Faculty of Architecture, but did not sing professionally at that time.
The couple moved to the United States in 1963, where she performed on the influential Getz/Gilberto album with João Gilberto, Stan Getz and Antonio Carlos Jobim. While rehearsing "The Girl from Ipanema", João asked her to sing a verse in English, and then persuaded Getz to include this in the final recording. Getz agreed, and Astrud's professional career began. After the recording Getz told Astrud it would make her famous, and was proved correct.
In the mid-1960s the couple divorced.
The success of Gilberto's vocal work on the song "The Girl from Ipanema" quickly turned her into a jazz star, and soon she started recording solo. She started as an interpreter of Brazilian bossa nova and American jazz standards, but started recording her own compositions in the 1970s.
Gilberto's recordings exposed the nations of the World to the sensuality of Brazilian music and to her unique vocal interpretations of American music, such as "The Shadow of your Smile", "It Might as well be Spring", "Fly Me to the Moon", "Look to the Rainbow" (from her album of the same title, with Gil Evans), "Love Story", etc...
Following the hit with "Ipanema", her recording career quickly took off. Her first solo effort, "The Astrud Gilberto Album", was an immediate best-seller and was itself nominated as album of the year. Her next albums were all chart-toppers and were released on a yearly schedule. Her talents were much in demand in other areas as well as she appeared in two motion pictures, "The Hanged Man" and "Get Yourself a College Girl" and also recorded the soundtrack for "The Deadly Affair", arranged by Quincy Jones. She made appearances in all of the popular US television shows of the time, and had TV specials built around her in Europe, Japan and Africa. For many years she was the voice of Eastern Airlines, having recorded award-winning commercials.
In the early seventies, Gilberto revealed another facet of her talents, her songwriting, which was introduced on the albums "Astrud Gilberto Now" (1972) and "That Girl From Ipanema" (1977). On the "That Girl from Ipanema" album, Gilberto recorded one of her songs, "Far Away" (with lyrics by Hal Shaper), as a duet with the legendary Chet Baker. As she has revealed in interviews, this was one of the most rewarding events of her career, since Baker had been one of Gilberto's idols dating back to her teenage years. In 1976, one of her compositions, "Live Today" (co-written with Jerome Schur), received an award at the Tokyo Music Festival.
In the early eighties, Gilberto formed a group, a sextet comprised of piano, bass, drums, trombone, guitar and percussion. Her son, Marcelo Gilberto, joined her group as bassist. With this group format, she toured Europe, Japan, Canada, and the United States. With the aid of Marcelo's valuable musical contributions, she polished the group's arrangements and entered a different phase in her career, as her music became more diversified and her songwriting more proliferous. Her shows, from the beginning of her career up to her last public appearance (2001), have been usually sold out and at many venues she has broken the house record in attendance. Seeking for a way to overcome her stage fright, which was sometimes overwhelming, Gilberto attended the Stella Adler School of Acting, for a couple of years, in the early eighties. The experience was helpful. Although still shy, Gilberto learned to control the stage fright to the extent that she can "live with it".
Her album "Astrud Gilberto Plus The James Last Orchestra", released in 1987, solidified her career as songwriter. The album includes a few of her own original compositions of which "Champagne & Caviar", "Amor e Som" and "I'm nothing without you" (Astrud's lyrics to A.C. Jobim's melody) are best known. The release of this album combined with the reissuing of some of her early records as CDs has created a whole new generation of fans for Astrud Gilberto all over the world, in addition to her already large number of followers. The "Astrud Gilberto Plus the James Last Orchestra" album was extremely well received by critics, as well as fellow artists.
In 1990, Gilberto, along with her sons Marcelo Gilberto and Gregory Lasorsa, formed Gregmar Productions, Inc. In the years that followed, Gilberto toured extensively, developing her live show and writing new material.
In 1992, Gilberto received the "Latin Jazz USA Award for Lifetime Achievement" for her outstanding contribution to Latin jazz music.
In 1995, the first project by Gregmar studios was released on an album as tribute to Jobim on the label Ps Flag/BMG ("Heirs To Jobim"). The song, "Forever Green", one of Jobim's last compositions before passing away, features saxophonist Michael Brecker. In that same year, in a sold-out Thursday night appearance, Astrud Gilberto became the first "Jazz" Artist to sing at the trendy "House of Blues" in Los Angeles, which had until then presented Blues and Rock acts, exclusively. She has also broken house records at the very popular "Jazz Cafe" club in London.
In early 1996 the first album from Gregmar was released in the Asian territories, including Japan, on the Pony Canyon label. It is comprised of various live performances recorded in NYC in 1989, for which is called "Astrud Gilberto - Live in New York".
The "Desafinado" duet with George Michael, in the Fall of 1996 included on the "Red Hot & Rio" album, gained international attention, and exposed the Bossa Nova style to a large number of Pop music fans. "Desafinado" has also been included on George Michael's 1999 release "Ladies and Gentlemen, The Best of George Michael".
Also in 1996, Gilberto recorded a duet with the famous European vocalist, French Pop star, Ettienne Daho. The song, "Les Bordes de Seine", included on Daho's "Eden" album, was co-written by Daho and Gilberto and was particularly well received by "Hip-Hop" fans.
In late 1997, a studio album (also by Gregmar Productions), produced by Astrud and Marcelo Gilberto, was released in the Asian territories by the Pony Canyon label. Comprised entirely of Astrud Gilberto's original compositions (with the exception of just one American standard), the album bears the title of "Temperance". Yet to be released outside of Asia, the album features guests Michael Franks and the New York Voices.
Gilberto's sold-out performances at the "House of Blues", and her legendary shows at NYC's SOB's continued to be musical "happenings" to her fans up until 2001, when she decided to take indefinite time off the "road", in order to be able to spend more time with her family, and do more writing and painting (she is also a fine art artist (click here to view some of her artwork).
Gilberto's style has been a strong influence in contemporary music. Many artists have revealed the fact that they have been inspired by her musical style, among them: Basia (who recorded a tribute to Astrud, a song named "Astrud"), Sade, Sinead O'Connor, Michael Franks, Pat Metheney, and Suzanne Vega. Several "avant-garde" groups have also professed having Astrud as their "inspiring muse".
Gilberto's work as songwriter has gradually but surely developed from a "side thing" in the beginning of her career, to an integral part of it, in the later years. Since the mid-eighties, her live shows featured a large number of her own original compositions, to which audiences have been just as receptive as they have always been to old standards such as "The Girl from Ipanema", "One Note Samba", or "Quiet Nights".
Gilberto's 2002 "Jungle" album release, is a showcase of her songwriting, as it features ten original new compositions.
In April 2002, Gilberto was inducted into the "International Latin Music Hall of Fame".
In November 2008, Gilberto was awarded by the Latin Recording Academy the "Lifetime Achievement" Grammy Award.
Garota de Ipanema
Astrud Gilberto Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Mais cheia de graça
É ela, menina
Que vem e que passa
Num doce balanço
A caminho do mar
Moça do corpo dourado
O seu balançado é mais que um poema
É a coisa mais linda que eu já vi passar
Ah, por que estou tão sozinho?
Ah, por que tudo é tão triste?
Ah, a beleza que existe
A beleza que não é só minha
Que também passa sozinha
Ah, se ela soubesse
Que quando ela passa
O mundo inteirinho se enche de graça
E fica mais lindo
Por causa do amor
Tall and tan and young and lovely
The girl from Ipanema goes walking
And when she passes, each one she passes goes ah
When she walks, she's like a samba
That swings so cool and sways so gentle
That when she passes, each one she passes goes ooh
(Ooh) But I watch her so sadly
How can I tell her I love her
Yes I would give my heart gladly
But each day, when she walks to the sea
She looks straight ahead, not at me
Tall, (and) tan, (and) young, (and) lovely
The girl from Ipanema goes walking
And when she passes, I smile but she doesn't see (doesn't see)
(She just doesn't see, she never sees me)
The song "Garota De Ipanema" tells the story of a beautiful girl who walks along the beaches of Ipanema, catching the attention and admiration of all those who see her. The lyrics describe her as a graceful and stunning figure who moves with a gentle sway towards the sea. The singer of the song laments his own loneliness in the midst of the girl's beauty, questioning why he is so alone and everything seems so sad. He expresses his love for the girl and how she brings joy and grace to the world around her, yet he cannot seem to catch her attention, making him feel invisible and unimportant. Despite this, he still watches her pass by, admiring her from afar.
The song captures the essence of Brazilian music and culture, with its soft melodies and poetic lyrics. It celebrates the beauty of women and the joys of life, even amid the struggles and hardships. The song's popularity helped to establish Bossa Nova as a significant genre in music history, introducing world audiences to Brazilian rhythms and melodies.
Line by Line Meaning
Olha que coisa mais linda
Look at the most beautiful thing
Mais cheia de graça
Full of grace
É ela, menina
It's her, the girl
Que vem e que passa
Who comes and goes
Num doce balanço
In a sweet swing
A caminho do mar
On her way to the sea
Moça do corpo dourado
Girl with a golden body
Do sol de Ipanema
From the Ipanema sun
O seu balançado é mais que um poema
Her swaying is more than a poem
É a coisa mais linda que eu já vi passar
It's the most beautiful thing I've ever seen pass by
Ah, por que estou tão sozinho?
Ah, why am I so alone?
Ah, por que tudo é tão triste?
Ah, why is everything so sad?
Ah, a beleza que existe
Ah, the beauty that exists
A beleza que não é só minha
The beauty that is not only mine
Que também passa sozinha
That also passes by alone
Ah, se ela soubesse
Ah, if she only knew
Que quando ela passa
That when she passes by
O mundo inteirinho se enche de graça
The whole world is filled with grace
E fica mais lindo
And it gets more beautiful
Por causa do amor
Because of the love
Tall and tan and young and lovely
Tall and tanned and young and lovely
The girl from Ipanema goes walking
The girl from Ipanema walks
And when she passes, each one she passes goes ah
And when she passes by, everyone who sees her reacts with amazement
When she walks, she's like a samba
Her walk is like a samba
That swings so cool and sways so gentle
It swings so cool and sways so gently
That when she passes, each one she passes goes ooh
That everyone who sees her reacts with awe
(Ooh) But I watch her so sadly
But I watch her with sadness
How can I tell her I love her
How can I tell her that I love her?
Yes I would give my heart gladly
Yes, I would give my heart freely
But each day, when she walks to the sea
But every day, when she walks to the sea
She looks straight ahead, not at me
She looks straight ahead, not at me
Tall, (and) tan, (and) young, (and) lovely
Tall, tanned, young, and lovely
The girl from Ipanema goes walking
The girl from Ipanema walks
And when she passes, I smile but she doesn't see (doesn't see)
And when she passes by, I smile but she doesn't notice me
(She just doesn't see, she never sees me)
She just doesn't see, she never sees me
Lyrics © Universal Music Publishing Group
Written by: Antonio Carlos Brasileiro De A Jobim, Marcus Vinicius Da Cruz De M. Moraes
Lyrics Licensed & Provided by LyricFind
Nicole Gonzales
Olha que coisa mais linda
Mais cheia de graça
É ela a menina que vem e que passa
Num doce balanço a caminho do mar
Moça do corpo dourado do sol de Ipanema
O seu balançado é mais que um poema
É a coisa mais linda que eu já vi passar
Ah, por que estou tão sózinho?
Ah, por que tudo é tão triste?
Ah, a beleza que existe
A beleza que não é só minha
Que também passa sozinha
Ah, se ela soubesse
Que quando ela passa
O mundo sorrindo se enche de graça
E fica mais lindo por causa do amor
Tall and tan and young and lovely
The girl from Ipanema goes walking
And when she passes
Each one she passes goes "ah!"
When she walks she's like a samba that
Swings so cool and sways so gently
That when she passes
Each one she passes goes "ah!"
Oh, but he watches her so sadly
How can he tell her he loves her?
Yes, he would give his heart gladly
But each day when she walks to the sea
She looks straight ahead not at him
Tall and tan and young and lovely
The girl from Ipanema goes walking
And when she passes he smiles
But she doesn't see
rockfeller dence
La chica de Ipanema
Versión Castellano:
Mira que cosa más linda, tan llena de gracia, es esa chiquilla que viene y qué pasa, con dulce balance camina hacia el mar.
Chica de cuerpo dorado, del sol de Ipanema, con su balanceo es más que un poema, la cosa más linda que yo vi pasar.
Ha, yo me siento tan solo.
Ha, por que todo es tan triste.
Ha, la belleza que existe.
La belleza que no solo es mía, va trízate y sin alegría.
Ha, si ella supiera que cuando ella pasa, el mundo sonríe tan lleno de gracia, que chica más linda a causa de amar.
uknown person
Olha, que coisa mais linda,
Mais cheia de graça,
É ela, menina, que vem e que passa,
Num doce balanço, a caminho do mar.
Moça do corpo dourado,
Do sol de Ipanema,
O seu balançado
É mais que um poema
É a coisa mais linda
Que eu já vi passar
Ah, por que estou tão sozinho?
Ah, por que tudo é tão triste?
Ah, a beleza que existe
A beleza que não é só minha,
Que também passa sozinha.
Ah, se ela soubesse
Que quando ela passa,
O mundo sorrindo
Se enche de graça
E fica mais lindo
Por causa do amor
sammie
Olha que coisa mais linda
Mais cheia de graça
É ela menina
Que vem e que passa
Num doce balanço, a caminho do mar
Moça do corpo dourado
Do sol de Ipanema
O seu balançado é mais que um poema
É a coisa mais linda que eu já vi passar
Ah, porque estou tão sozinho
Ah, porque tudo é tão triste
Ah, a beleza que existe
A beleza que não é só minha
Que também passa sozinha
Ah se ela soubesse
Que quando ela passa
O mundo sorrindo
Se enche de graça
E fica mais lindo
Por causa de amor
Tall and tan and young and lovely
The girl from Ipanema goes walking
And when she passes
Each one she passes goes, "Ah"
When she walks, she's like a samba
That swings so cool and sways so gently
That when she passes
Each one she passes goes, "Ah"
Oh, but he watches her so sadly
How can he tell her he loves her?
Yes, he would give his heart gladly
But each day, when she walks to the sea
She looks straight ahead, not at he
Tall, and tan, and young, and lovely
The girl from Ipanema goes walking
And when she passes, he smiles
But she doesn't see
Oh, but he sees her so sadly
How can he tell her he loves her?
Yes, he would give his heart gladly
But each day, when she walks to the sea
She looks straight ahead, not at him
Tall, and tan, and young, and lovely
The girl from Ipanema goes walking
And when she passes, he smiles
But she doesn't see
She just doesn't see
No, she doesn't see
But she doesn't see
She doesn't see
No, she doesn't see
rockfeller dence
Sergio Murillo - La Chica de Ipanema
Versión Castellano
Mira que cosa más linda, tan llena de gracia, es esa chiquilla que viene y qué pasa, con dulce balance camina hacia el mar.
Chica de cuerpo dorado, del sol de Ipanema, con su balanceo es más que un poema, la cosa más linda que yo vi pasar.
Ha, yo me siento tan solo.
Ha, por que todo es tan triste.
Ha, la belleza que existe.
La belleza que no solo es mía, va trízate y sin alegría.
Ha, si ella supiera que cuando ella pasa, el mundo sonríe tan lleno de gracia, que chica más linda a causa de amar.
Jonathan Christopher
Speaking as a vocal coach, very few vocalists understand how difficult it is to sing this in tune, without vibrato, and grab minor sixths and major sevenths in various scales, out of thin air without scooping (to locate the pitch); it is as if they have a tuning fork in their head. You either hear the pitch in your head because of talent or you practice and practice to nail her songs.
Gary Loewenthal
Agree! And there’s no expensive tuner that could hit those flatted fifths as precisely as she does - and with such ease.
Coaster IGH
Thank you for this verdict. I was just commenting on another video of Astrud that I did not know if she was just lucky to hit slightly odd flats and sharps as serendipity, or if it was really a talent. I don't know the music theory, but I know she's hitting distinctly "wrong" notes in a beautiful way that is better than "right" notes. I was not sure if that was naivety or sophistication since it was said she never sang professionally before Getz/Gilberto. But what you said about vibrato and scooping does tell the tale. She just hits them directly without searching, and without using vibrato to "average" them. Maybe that's the thing that makes me think she knew exactly what she was doing. It's sad sometimes, though, to listen to any recording other than the original Getz/Gilberto release, because just the sound of Astrud and Stan's breath, her voice ringing, and the working of the valves on the sax are astounding and immediate.
Late to the party
Thank you for that explanation. I find vibrato annoying and really appreciate the purity of sound of Astrid. I wish most singers sang like her. To me vibrato makes it sound as if the singer is trying to sound heroic and bigger than life. I wish they would sing the song more neutrally.
Alessandro Gouveia
Im from Rio and have heard all these bossa nova songs and how it was revolutionary for bringing this smooth way of singing for the media in comparation to, what we call, "the golden era of radio singers". You had just opened a door in my mind with this technical explaining. Cause many of these radio singers spended the next 40 years after bossa nova, complaining of ostracism (and they were obviously great singers. Every Angela in Brasil it's also Maria because of Angela Maria, one of these singers), and i never understood why this happened for a big group of technical singers.
Dan Berkey
It's really cool to read this explanation from someone who knows. I appreciate it, but to me this is just like a river a soft gold from her voice, flowing with such ease and expressiveness. It's just priceless.
Gordon Adams
Such ease in her voice. She hits every note dead on. No sliding. No dipthongs. Purity.
aldoskyz8
Just perfection.
Nicole Gonzales
Olha que coisa mais linda
Mais cheia de graça
É ela a menina que vem e que passa
Num doce balanço a caminho do mar
Moça do corpo dourado do sol de Ipanema
O seu balançado é mais que um poema
É a coisa mais linda que eu já vi passar
Ah, por que estou tão sózinho?
Ah, por que tudo é tão triste?
Ah, a beleza que existe
A beleza que não é só minha
Que também passa sozinha
Ah, se ela soubesse
Que quando ela passa
O mundo sorrindo se enche de graça
E fica mais lindo por causa do amor
Tall and tan and young and lovely
The girl from Ipanema goes walking
And when she passes
Each one she passes goes "ah!"
When she walks she's like a samba that
Swings so cool and sways so gently
That when she passes
Each one she passes goes "ah!"
Oh, but he watches her so sadly
How can he tell her he loves her?
Yes, he would give his heart gladly
But each day when she walks to the sea
She looks straight ahead not at him
Tall and tan and young and lovely
The girl from Ipanema goes walking
And when she passes he smiles
But she doesn't see
karel de ryck
Obrigado Thank You Merçi Danke Dank U