João Gilberto (João Gilberto Prado Pereira de Oliveira, Juazeiro, Bahia, Br… Read Full Bio ↴João Gilberto (João Gilberto Prado Pereira de Oliveira, Juazeiro, Bahia, Brazil, June 10, 1931 - July 6, 2019) was a Brazilian singer, acoustic guitarist and ocasional songwriter, considered one of the creators of bossa nova with Antônio Carlos Jobim and Vinícius de Moraes. One of his most famous nicknames is "Pai da Bossa Nova" (Father of Bossa Nova).
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)
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)
Manha de Carnaval
João Gilberto Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Manhã, tão bonita manhã
Na vida, uma nova canção
Cantando só teus olhos
Teu riso, tuas mãos
Pois há de haver um dia
Em que virás
Das cordas do meu violão
Que só teu amor procurou
Vem uma voz
Falar dos beijos perdidos
Nos lábios teus
Canta o meu coração
Alegria voltou
Tão feliz a manhã
Deste amor
Na vida, uma nova canção
Cantando só teus olhos
Teu riso, tuas mãos
Pois há de haver um dia
Em que virás
Das cordas do meu violão
Que só teu amor procurou
Falar dos beijos perdidos
Nos lábios teus
Canta o meu coração
Alegria voltou
Tão feliz a manhã
Deste amor
The song "Manhã De Carnaval" by João Gilberto expresses the joy and hope that a new day brings in life. The lyrics describe the beauty of the morning and how it inspires a new song to be sung, which is dedicated to the love interest of the singer. The beautiful eyes, smile, and hands of the person are the inspiration for this new song, which speaks of the love that only the sound of the singer's guitar has been searching for.
The lyrics also express the longing for the love interest to come and listen to the song, which is so full of lost kisses in the singer's memory. The singer's heart sings with joy as he feels the return of happiness in his life because of this love that has made his morning so beautiful. The song speaks of the universal theme of love and the joy that it brings into one's life.
Line by Line Meaning
Manhã, tão bonita manhã
Morning, such a beautiful morning
Na vida, uma nova canção
In life, a new song
Cantando só teus olhos
Singing only your eyes
Teu riso, tuas mãos
Your smile, your hands
Pois há de haver um dia
For there will come a day
Em que virás
When you will come
Das cordas do meu violão
From the strings of my guitar
Que só teu amor procurou
That only sought your love
Vem uma voz
A voice comes
Falar dos beijos perdidos
To speak of lost kisses
Nos lábios teus
On your lips
Canta o meu coração
My heart sings
Alegria voltou
Joy has returned
Tão feliz a manhã
Such a happy morning
Deste amor
Of this love
Lyrics © BMG Rights Management, Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Tratore, Kobalt Music Publishing Ltd., Warner Chappell Music, Inc.
Written by: Antonio Maria, Luiz Bonfa
Lyrics Licensed & Provided by LyricFind
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@CaloisNazario
Manhã, tão bonita manhã
Na vida, uma nova canção
Cantando só teus olhos
Teu riso, tuas mãos
Pois há de haver um dia
Em que virás
Das cordas do meu violão
Que só teu amor procurou
Vem uma voz
Falar dos beijos perdidos
Nos lábios teus
Canta o meu coração
Alegria voltou
Tão feliz a manhã
Deste amor
@douglasforaste3078
Morning, what a beautiful morning
There is a new song in life
Singing just your eyes
Your laugh, your hands
Because there must be a day when you will go back
From the strings of my guitar
That your love sought out
There comes a voice
Speaking of lost kisses
Upon your lips
My heart is singing
Happiness has returned
How happy is the morning of this love
https://lyricstranslate.com
@blitzkriegahsofar
JS LOURENÇO ***** For you, my friends... :)
Manhã de Carnaval - João Gilberto
Manhã, tão bonita manhã
Na vida, uma nova canção
Cantando só teus olhos
Teu riso, tuas mãos
Pois há de haver um dia
Em que virás
Das cordas do meu violão
Que só teu amor procurou
Vem uma voz
Falar dos beijos perdidos
Nos lábios teus
Canta o meu coração
Alegria voltou
Tão feliz a manhã
Deste amor
@joaopedrovale7687
Melhor época do Brasil que viví. Apesar das dificuldades da vida, o sorriso era mais franco, a amizada era mais sincera, o respeito pelos pais era maior, a união familiar era uma norma, o saber e o conhecimento era uma exigência, o caráter e a honestidade era obrigação................
@PardoChad
Sim, época linda da ditadura, tortura e censura, palmatórias nas escolas ♡♡♡
@THET749
Meus pais, avós, tios e sogros dizem o mesmo, irmão.🙏🏼
@robertocesar3884
Belíssima composição de Luiz Bonfá e Antonio Maria. Excelente, em singular estilo, a interpretação de João Gilberto.
Retrato de um Brasil melhor...
@felipeestrela332
O Brasil que deu certo!
@GjaP_242
Mito, não necessariamente. Nosso eterno e extraordinário João Gilberto, obviamente. 0:55
@CaloisNazario
Manhã, tão bonita manhã
Na vida, uma nova canção
Cantando só teus olhos
Teu riso, tuas mãos
Pois há de haver um dia
Em que virás
Das cordas do meu violão
Que só teu amor procurou
Vem uma voz
Falar dos beijos perdidos
Nos lábios teus
Canta o meu coração
Alegria voltou
Tão feliz a manhã
Deste amor
@bekapirtskhalaishvili5361
💖💖💖💖💖💖💖🇧🇷🇧🇷🇧🇷🇧🇷🇧🇷🇧🇷
@douglasforaste3078
Morning, what a beautiful morning
There is a new song in life
Singing just your eyes
Your laugh, your hands
Because there must be a day when you will go back
From the strings of my guitar
That your love sought out
There comes a voice
Speaking of lost kisses
Upon your lips
My heart is singing
Happiness has returned
How happy is the morning of this love
https://lyricstranslate.com
@nellyaviladehernandez5500
Un poema hecho canción... jamás morirá. Bien por Brasil y su gente. Carlos Hernández. Valencia Venezuela