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)
Triste
João Gilberto Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Triste e viver na solidão
Na dor cruel de uma paixão
Triste e saber que ninguem pode viver de ilusão
Que nunca vai ter, nunca vai dar
O sonhador tem que acordar
Sua beleza e um avião
Demais pra um pobre coração
Que para pra te ver passar
Só pra me maltratar
Triste e viver na solidão
Na dor cruel de uma paixão
Triste e saber que ninguem pode viver de ilusão
Que nunca vai ter, nunca vai dar
O sonhador tem que acordar
Sua beleza e um avião
Demais pra um pobre coração
Só pra me maltratar
Triste e viver na solidão
The song Triste by João Gilberto is a poignant portrayal of the emotional turmoil one goes through in the throes of love. The lyrics speak of the sadness of living in solitude and the unbearable pain of unrequited love. Gilberto's vocals are subtle, yet haunting as he infuses each word with raw emotions.
The opening lines capture the essence of the song as Gilberto sings about how sad and lonely life can be when one is consumed by the agony of unfulfilled love. The pain of a shattered heart is palpable in the way Gilberto sings about the cruelty of passion. He goes on to say that it is tragic to live a life full of illusions, which can never come to fruition. The dreamer must awaken and accept the reality of the situation.
Gilberto's lyrics are also introspective as he acknowledges his own shortcomings. He describes the object of his affection as a beautiful airplane that is too much for a poor heart like his to handle. He admits that he watches her pass by, even though it only causes him further pain. The stark realization that he is condemned to live a lonely life adds depth to the melancholic undertones of the song.
Line by Line Meaning
Triste e viver na solidão
It's sad to live in loneliness
Na dor cruel de uma paixão
In the cruel pain of a passion
Triste e saber que ninguem pode viver de ilusão
It's sad to know that no one can live in an illusion
Que nunca vai ter, nunca vai dar
That it will never come, never be given
O sonhador tem que acordar
The dreamer has to wake up
Sua beleza e um avião
Your beauty is like an airplane
Demais pra um pobre coração
Too much for a poor heart
Que para pra te ver passar
That stops to see you pass by
Só pra me maltratar
Only to mistreat me
Triste e viver na solidão
It's sad to live in loneliness
Contributed by Adrian C. Suggest a correction in the comments below.
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Detamar Nogueira
Triste e viver na solidão
Na dor cruel de uma paixão
Triste é saber que ninguém
Pode viver de ilusão
Que nunca vai ser, nunca vai dar
O sonhador tem que acordar
Sua beleza é um avião
Demais pra um pobre coração
Que para pra te ver passar
Só pra me maltratar
Triste e viver na solidão
Triste é viver na solidão
Na dor cruel de uma paixão
Triste é saber que ninguém
Pode viver de ilusão
Que nunca vai ser, nunca vai dar
O sonhador tem que acordar
Sua beleza é um avião
Demais pra um pobre coração
Que para pra te ver passar
Só pra me maltratar
Triste é viver na solidão
Triste é viver na solidão
Na dor cruel de uma paixão
Triste é saber que ninguém
Pode viver de ilusão
Que nunca vai ser, nunca vai dar
O sonhador tem que acordar
Sua beleza é um avião
Demais pra um pobre coração
Que para pra te ver passar
Só pra me maltratar
Triste e viver na solidão
nelke
triste é viver na solidão
na dor cruel de uma paixão
triste é saber que ninguém pode viver de ilusão
que nunca vai ser
nunca vai dar
um sonhador tem que acordar
sua beleza é um avião
demais pra um pobre coração
que para pra te ver passar
só pra me maltratar
triste é viver na solidão
💌
Terry Miller
I don't know, but we will try to learn together. I am going to look up the session information for the album this song is on.
EDIT: from the Wikipedia entry for this album, we have the credits. You can count the people.
João Gilberto (Guitar), João Gilberto (Vocals), João Gilberto (Main
Performer), Milcho Leviev (Synthesizer), Bud Shank (Flute), Grady Tate
(Drums), Ralph Grierson (Keyboards), Marilyn Baker (Viola), Israel Baker (Violin), Israel Baker (Concert Master), Michael Boddicker (Synthesizer), Stella Castellucci, Claus Ogerman (Arranger), Claus Ogerman (Conductor), Joe Correro (Drums), Paulinho Da Costa
(Percussion), Isabelle Daskoff (Violin), Bonnie Douglas (Violin), Glenn
Garrett (Flute), Anne Goodman (Cello), Don Henderson (Assistant
Engineer), Lee Herschberg (Digital Mastering), Jim Hughart (Bass), Helen
Keane (Producer), Tommy LiPuma (Producer), Johnny Mandel
(Arranger), Johnny Mandel (Conductor), Joel Moss (Engineer), Nelson
Motta (Liner Notes), Matt Pierson (Reissue Producer), Nathan Ross
(Violin), Julie Sayres (Coordination), Al Schmitt (Engineer), Al Schmitt
(Mixing), David Schwartz (Viola), Paul Shure (Violin), Gerald Vinci
(Violin), Gerald Vinci (Concert Master), Helain Wittenberg (Viola), John
Wittenberg (Violin), Noel Newbolt (Production Assistant), Joe Goodman
(Violin), Bobby Dubow (Violin), Claire Fisher (Keyboards), Michael Diehl
(Design), Guto Graca Mello (Executive Producer), Bob Lipsett (Violin),
Geoffrey Holder (Paintings), Eric Bowman (Assistant Engineer), Bluestone
(Violin), Célio Martins (Engineer), André Midani (Executive Producer),
Eddie Cainf (Flute), Eduardo Ramalho (Assistant Engineer)
Joyce Alvarenga
É um prazer ser brasileira, certos detalhes não podem ser traduzidos. Precisamos valorizar nossa cultura
Manuel Rodríguez
esso!
Canis Pugnax
Concordo
Carmen Demetrio
Joyce Alvarenga
Así es.
Eso sucede con todos los idiomas...😜
luis acosta
La Bossa Nova es lo más hermoso que hay admirarlos es poco saludos desde argentina
OS FUNDAMENTOS DA FELICIDADE
Verdade
5eva
João gilberto, una bendición para mi vida, que en paz descanse maestro
Detamar Nogueira
Triste e viver na solidão
Na dor cruel de uma paixão
Triste é saber que ninguém
Pode viver de ilusão
Que nunca vai ser, nunca vai dar
O sonhador tem que acordar
Sua beleza é um avião
Demais pra um pobre coração
Que para pra te ver passar
Só pra me maltratar
Triste e viver na solidão
Triste é viver na solidão
Na dor cruel de uma paixão
Triste é saber que ninguém
Pode viver de ilusão
Que nunca vai ser, nunca vai dar
O sonhador tem que acordar
Sua beleza é um avião
Demais pra um pobre coração
Que para pra te ver passar
Só pra me maltratar
Triste é viver na solidão
Triste é viver na solidão
Na dor cruel de uma paixão
Triste é saber que ninguém
Pode viver de ilusão
Que nunca vai ser, nunca vai dar
O sonhador tem que acordar
Sua beleza é um avião
Demais pra um pobre coração
Que para pra te ver passar
Só pra me maltratar
Triste e viver na solidão
luis acosta
Hermoso, tranquilizador, relajante, soñador, inspirador grande grande y larga vida al maestro Joao Gilberto y a todos los referentes de la Bossa Nova saludos desde argentina hermanos
Heitor Rocha
descanse em paz! lá se foi outro MESTRE.