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)
Tin Tin Por Tin Tin
João Gilberto Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
O que prometeu meu bem
Mande o meu anel que de volta
Eu te mando o seu também
Mande a carta em que eu dizia
O amor não tem fim
Que eu te mando outra
Explicando tin tin por tin tin
Mande o meu retrato e ponha outro em seu lugar
Morreu um rei
Salve o rei que vai chegar
Não sei sofrer, não sei chorar
Eu sei me conformar
Não sei sofrer, não sei chorar
Eu sei me conformar e vou...
The lyrics of João Gilberto's "Tin Tin Por Tin Tin" express a sense of disillusionment and disappointment in a failed romantic relationship. The singer is demanding that their former lover fulfill the promises they made to each other, including the return of the singer's ring and the exchange of letters that expressed their love. The singer also asks for their photograph back and urges their former lover to replace it with someone else's photo, suggesting that they have moved on and don't want any reminders of their past together.
The singer seems resigned to their situation, stating that they don't know how to suffer or cry but can accept what has happened and move on. The repeated phrase "Tin Tin Por Tin Tin" in the chorus may be interpreted as a play on words, as "tin tin" is the onomatopoeic sound of a toast or clinking glasses. The phrase could thus be seen as a wish for closure and completion of their past relationship, as well as a nod to the need for celebration and renewal in the face of disappointment.
Overall, "Tin Tin Por Tin Tin" is a poignant and melancholic reflection on the aftermath of a failed romance, conveying both sorrow and acceptance.
Line by Line Meaning
Você tem que dar, tem que dar
You must fulfill your promises and obligations
O que prometeu meu bem
All the things you promised me, my love
Mande o meu anel que de volta
Please return the ring I gave you
Eu te mando o seu também
In exchange, I'll send back yours as well
Mande a carta em que eu dizia
Send back the letter where I wrote that love has no end
O amor não tem fim
Love is infinite and eternal
Que eu te mando outra
I'll send you another letter explaining everything in detail
Explicando tin tin por tin tin
Explaining every single detail and aspect
Você tem que devolver o que era meu bem meu
You must return what used to be mine
Mande o meu retrato e ponha outro em seu lugar
Send back my portrait and replace it with someone else's
Morreu um rei
A king has died
Salve o rei que vai chegar
Long live the new king who will come
Não sei sofrer, não sei chorar
I don't know how to suffer or cry
Eu sei me conformar
But I know how to accept and move on
E vou...
And I will do just that
Contributed by Aaron O. Suggest a correction in the comments below.