A self-taught guitarist and singer, Gilberto moved to Rio de Janeiro in 1950 and joined the vocal group Garotos da Lua ("The Boys of the Moon") as their lead singer. After a year and a half, he was kicked out of the group for his lack of discipline and spent the next several years in a marginal existence. Eventually, he found his way, creating a new way to express himself in voice and on the guitar. The result of his obsessive experiments became known as bossa nova.
Bossa nova is a refined version of samba, deemphasizing the percussive aspect of its rhythm and enriching the melodic and harmonic content. Rather than relying on the traditional Afro-Brazilian percussive instruments, bossa nova usually utilizes a drum set. João Gilberto often eschews all accompaniment, using only his guitar, which he uses as a percussive as well as a harmonic instrument. The singing style he developed is almost whispering, economical, and without vibrato. He creates his tempo tensions by singing ahead or behind the guitar.
This style, which Gilberto introduced in 1957, created a sensation in the musical circles of Rio's Zona Sul, and many young guitarists sought to imitate it. It was first heard on record in 1958 when João Gilberto accompanied singer Elizete Cardoso in a recording of "Chega de Saudade", a song by Antonio Carlos Jobim and Vinicius de Moraes. Shortly after this recording, João Gilberto made his own debut single of the same song, followed by the 1959 LP, Chega de Saudade. The song became a hit, launching Gilberto's career and the bossa nova craze.
Besides a number of Jobim compositions, the album Chega de Saudade featured older sambas and popular songs from the 1940s and '50s, all performed in the distinctive bossa nova style. This album was followed by two more in 1960 and 1961, by which time the singer featured new songs by a younger generation of performer/composers such as Carlos Lyra and Roberto Menescal.
By 1962, bossa nova had been embraced by such North American jazz musicians as Herbie Mann, Charlie Byrd, and Stan Getz, who invited Gilberto and Jobim to collaborate on what became one of the best-selling jazz albums of all time, Getz/Gilberto. Through this album, Gilberto's wife, Astrud, became an international star, and the Jobim/de Moraes composition "The Girl from Ipanema" became a worldwide pop music standard for the ages.
João Gilberto continued to perform through the 1960s but did not release another studio album until João Gilberto en México, recorded in 1970 during a period of residence in Mexico. João Gilberto, aka the "White Album" (1973), featured hypnotic minimalist execution and is widely considered to be his best album. The year 1976 saw the release of The Best of Two Worlds, a reunion with Stan Getz, featuring singer Miúcha, sister of Chico Buarque, who had become Gilberto's second wife in April 1965. Amoroso (1977) backed Gilberto with the lush string orchestration of Claus Ogerman, who had provided a similar sound to Jobim's instrumental recordings in the late 1960s and early 1970s. As had been the case for all of Gilberto's albums, the album consisted mostly of Jobim compositions, mixed with older sambas and an occasional North American standard from the 1940s.
Having lived in the US since 1962, João Gilberto returned to Brazil in 1980. The following year saw the release of Brasil, with guests Gilberto Gil and Caetano Veloso, who in the late 1960s had founded the Tropicalia movement, a fusion of Brazilian popular music with foreign pop. The 1991 release, João, with orchestrations by Clare Fischer, was unusual in its lack of even a single Jobim composition, instead featuring songs in English, French, Italian, and Spanish, plus old sambas and the solitary contemporary song "Sampa" (Caetano Veloso). Also released in 1991 was the album Canto Do Pajé by Veloso's sister Maria Bethânia on which Bethânia and Gilberto sing an intimate duet Maria/Linda Flor (Barroso, Peixoto, Vogler, Costa, and Pôrto) accompanied solely by his guitar. João Voz e Violão (2000) was an homage to the music of Gilberto's youth as well as a nod to producer Caetano Veloso.
Evenly interspersed with these studio recordings have been the live recordings, Live in Montreux; João Gilberto Prado Pereira de Oliveira; Eu Sei Que Vou Te Amar; Live at Umbria Jazz, and Live in Tokyo.
While all of Gilberto's albums since Getz/Gilberto have been released on CD, the first three domestic albums were released in 1988 by EMI on a single CD entitled The Legendary João Gilberto: The Original Bossa Nova Recordings (1958-1961). The disc also included three tracks from the singer's 1959 Orfeu Negro EP: "Manhã de Carnaval," O Nosso Amor, and A Felicidade, the latter two merged into a single medley track to fit within the recording time of a CD. After its release, Gilberto successfully sued to have the title removed from sale as an unauthorized release of his artistic works.
João Gilberto has long had a reputation as an eccentric recluse and a nearly neurotic perfectionist. He lives in an apartment in Leblon, Rio de Janeiro, refusing all interviews and avoiding crowds. He has been known to walk out on performances in response to an audience he considers disrespectful or out of theaters possessing acoustics below his standards, and at times demands that the air conditioning be turned off at concert venues. Yet he continues to perform to sell-out crowds in Brazil as well as in Europe, North America, and Japan.
Discography:
1959 - Chega de Saudade (Odeon)
1960 - O Amor, o Sorriso e a Flor (Odeon)
1961 - João Gilberto (Odeon)
1962 - The Boss of the Bossa Nova (Atlantic)
1963 - The Warm World of João Gilberto (Atlantic)
1964 - Getz/Gilberto (Verve)
1965 - Herbie Mann & João Gilberto (Atlantic)
1974 - João Gilberto en Mexico (PolyGram)
1976 - Best of Two Worlds (Columbia)
1977 - Amoroso (Warner Brothers)
1981 - Brasil (Warner Brothers)
1986 - João Gilberto Live in Montreux (WEA)
1991 - João (PolyGram)
2000 - João Voz e Violão (Universal)
2002 - Live at Umbria Jazz (Egea)
2004 - João Gilberto in Tokyo (Verve)
Eu E Meu Coracao
João Gilberto Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
De sofrer vive abafado
Sem saber porquê
Reclama, coitadinho tão baixinho
Que às vezes penso até
Que ele vai parar
Tudo foi por causa de alguém
Me fez chorar de dor
Não chore coração amargurado
Esquece seu passado
Arranje outro amor
O meu coração apaixonado
De sofrer vive abafado
Sem saber porquê
Reclama, coitadinho
Tão baixinho que às vezes penso até
Que ele vai parar
Tudo foi por causa de alguém
Que sem ter razão
Me fez chorar de dor
Não chore coração apaixonado
Esquece seu passado
Arranje outro amor
O meu coração apaixonado
De sofrer vive abafado
Sem saber porquê
Reclama, coitadinho tão baixinho
Que às vezes penso até
Que ele vai parar
Tudo foi por causa de alguém
Que sem ter razão
Me fez chorar de dor
Não chore coração amargurado
Esquece seu passado
Arranje outro amor
O meu coração apaixonado
De sofrer vive abafado
Sem saber porquê
Reclama, coitadinho
Tão baixinho que às vezes penso até
Que ele vai parar
Tudo foi por causa de alguém
Que sem ter razão
Me fez chorar de dor
Não chore coração amargurado
Esquece seu passado
Arranje outro amor
The lyrics to João Gilberto's song "Eu E Meu Coração" convey the feelings of a heart that is deeply in love and suffering in silence. The singer's heart is overwhelmed by the pain caused by someone who, inexplicably, made them cry. The heart, in a pitiful and subdued manner, complains, almost as if it might stop beating. The lyrics express the desire for the heart to forget its past and find a new love, so it can be free from its current state of anguish.
The song captures the emotional turmoil of a heart that is deeply affected by a past love. It portrays the heart as a separate entity, with its own voice and emotions. The repetition of the refrain emphasizes the heart's persistent suffering and its plea for healing. The lyrics also suggest that the heart's pain is undeserved, as it is caused by someone who lacks reason.
Overall, "Eu E Meu Coração" is a song that delves into the depths of heartache and longing, while also advocating for healing and moving on from past love.
Line by Line Meaning
O meu coração apaixonado
My passionate heart
De sofrer vive abafado
Lives suffocated by suffering
Sem saber porquê
Without knowing why
Reclama, coitadinho tão baixinho
Complains, poor little one so quietly
Que às vezes penso até
That sometimes I even think
Que ele vai parar
That it will stop
Tudo foi por causa de alguém
Everything was because of someone
Que sem ter razão
Who without reason
Me fez chorar de dor
Made me cry in pain
Não chore coração amargurado
Don't cry, bitter heart
Esquece seu passado
Forget your past
Arranje outro amor
Find another love
O meu coração apaixonado
My passionate heart
De sofrer vive abafado
Lives suffocated by suffering
Sem saber porquê
Without knowing why
Reclama, coitadinho
Complains, poor little one
Tão baixinho que às vezes penso até
So softly that sometimes I even think
Que ele vai parar
That it will stop
Tudo foi por causa de alguém
Everything was because of someone
Que sem ter razão
Who without reason
Me fez chorar de dor
Made me cry in pain
Não chore coração apaixonado
Don't cry, passionate heart
Esquece seu passado
Forget your past
Arranje outro amor
Find another love
O meu coração apaixonado
My passionate heart
De sofrer vive abafado
Lives suffocated by suffering
Sem saber porquê
Without knowing why
Reclama, coitadinho tão baixinho
Complains, poor little one so quietly
Que às vezes penso até
That sometimes I even think
Que ele vai parar
That it will stop
Tudo foi por causa de alguém
Everything was because of someone
Que sem ter razão
Who without reason
Me fez chorar de dor
Made me cry in pain
Não chore coração amargurado
Don't cry, bitter heart
Esquece seu passado
Forget your past
Arranje outro amor
Find another love
Lyrics © Universal Music Publishing Group
Written by: Antonio Botelho, Inaldo Vilarinho
Lyrics Licensed & Provided by LyricFind
Rogerio Souza
Grandes João, Antônio Botelho e Inaldo Vilarinho. maravilha! Valeu por postar,Pedro Progresso.
Ron Wolpa
Obra prima , não dá para entender o porquê de João não ter gostado dos arranjos do maestro Clare Fischer. Em 1991 o maestro Guerra Peixe mediou a contenda entre João (que gravou voz e violão no RJ) e Fischer (que gravou a orquestra em Los Angeles) , disse ao cantor que tudo lhe parecia bem com os arranjos . O mesmo ocorreu com Claus Ogerman , que arranjou o álbum Amoroso.
Franco Lopez
onde você aprendeu essa informação?
rodrigo
A versão de "sampa" sem os arranjos é mil vezes melhor
Jose Alexandre Alex
Grandeur joao Gilbert of questions sausage devious mustard musical lindasmusicas paragraph nose Muito obrigado
Luana Coser
Para vou chorar
Fábio Valente Oficial - Só Música Inédita
Bossa Nova - Nave Espacial - Fabio Valente
I invite you for know bossa nova unpublished, thanks!!