Born João Gilberto Prado Pereira de Oliveira on June … Read Full Bio ↴João Gilberto:
Born João Gilberto Prado Pereira de Oliveira on June 10, 1931 in the town of Juazeiro, Bahia is a Brazilian musician and considered one of the creators, with Tom Jobim (Antonio Carlos Jobim) and Vinicius de Moraes, of bossa nova.
Biography
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 more 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 except 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 (listen to excerpt) turned into a hit, launching Gilberto's career and the bossa nova craze. Besides a number of Jobim compositions, the album featured older sambas and popular songs from the 1940s and '50s, but 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 North American jazz musicians such 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. 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, 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.
Stan Getz:
Stanley Gayetsky (February 2, 1927 in Philadelphia – June 6, 1991 in Malibu, California), usually known by his stage name Stan Getz, was an American jazz musician. He is considered one of the greatest tenor saxophone players of all time. Known as "The Sound" because of his warm, lyrical tone, Getz's prime influence was the wispy, mellow tone of his idol, Lester Young. In 1986, however, Getz said: "I never consciously tried to conceive of what my sound should be..."
Born to Ukrainian-Jewish parents and raised in New York City, Getz played a number of instruments before his father bought him his first saxophone at the age of 13. In 1943, he was accepted into Jack Teagarden's band, and because of his youth he became Teagarden's ward. Getz also played along with Nat King Cole and Lionel Hampton. After playing for Stan Kenton, Jimmy Dorsey, and Benny Goodman, Getz was a soloist with Woody Herman from 1947 to 1949 in 'the second herd' and he first gained wide attention as one of the bands saxophonists, who were known collectively as 'the four brothers', the others being Serge Chaloff, Zoot Sims and Herbie Steward. With Herman, he had a hit with "Early Autumn" and after Getz left 'the second herd' he was able to launch his solo career. He would be the leader on almost all of his recording sessions after 1950.
In the 1950s, Getz become popular playing cool jazz with Horace Silver, Johnny Smith, Oscar Peterson, and many others. His first two quintets were notable for their personnel, including Charlie Parker's rhythm section of drummer Roy Haynes, pianist Al Haig and bassist Tommy Potter. In 1958, Getz tried to escape his narcotics addiction by moving to Copenhagen, Denmark.
Returning to America in 1961, Getz became a central figure in the Bossa nova. Along with Charlie Byrd, who had just returned from a U.S. State Department tour of Brazil, Getz recorded Jazz Samba in 1962 and it became a hit. The title track was an adaptation of Antonio Carlos Jobim's "Samba De Uma Nota Só" (One Note Samba). Getz won the Grammy for Best Jazz Performance of 1963 for "Desafinado".
He then recorded with Jobim, João Gilberto and his wife, Astrud Gilberto. Their "The Girl from Ipanema" won a Grammy Award. The title piece became one of the most well-known latin jazz pieces of all time. Getz/Gilberto won two Grammys (Best Album and Best Single), besting The Beatles' A Hard Day's Night, a victory for Bossa Nova and Brazilian jazz. In 1967, Getz recorded albums with Chick Corea and Stanley Clarke.
In the early 1970s Getz worked in the fusion idiom and experimented with an Echoplex on his saxophone, for which critics vilified him. He eventually discarded fusion and "electric jazz", returning to acoustic jazz. Getz gradually de-emphasized the Bossa Nova, opting for more esoteric and less-mainstream jazz. He had a cameo in the movie The Exterminator (1980).
O Pato
João Gilberto / Stan Getz Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Quando um marreco sorridente pediu
Pra entrar também no samba, no samba, no samba
O ganso gostou da dupla e fez também qüem, qüem, qüem
Olhou pro cisne e disse assim, vem vem
Que o quarteto ficará bem, muito bom, muito bem
Na beira da lagoa foram ensaiar
A voz do pato era mesmo um desacato
Jogo de cena com o ganso era mato
Mas eu gostei do final quando caíram n'água
E ensaiando o vocal
Qüem, qüem, qüem, qüem, tum dum dum
Qüem, qüem, qüem, qüem
Qüem, qüem, qüem, qüem
O pato vinha cantando alegremente, qüem, qüem
Quando um marreco sorridente pediu
Pra entrar também no samba, no samba, no samba
O ganso gostou da dupla e fez também qüem, qüem, qüem
Olhou pro cisne e disse assim, vem vem
Que o quarteto ficará bem, muito bom, muito bem
Na beira da lagoa foram ensaiar
Para começar o tico-tico no fubá
A voz do pato era mesmo um desacato
Jogo de cena com o ganso era mato
Mas eu gostei do final quando caíram n'água
E ensaiando o vocal
Qüem, qüem, qüem, qüem, tum dum dum
Qüem, qüem, qüem, qüem
Qüem, qüem, qüem, qüem
Qüem, qüem, qüem, qüem
Qüem, qüem, qüem, qüem
Qüem, qüem, qüem, qüem
Qüem, qüem, qüem, qüem
Qüem, qüem, qüem, qüem
The song "O Pato" by João Gilberto and Stan Getz has whimsical lyrics that describe a group of birds who come together to sing and dance. The first verse introduces a happy duck who starts singing "quem, quem" as he makes his way to the party. As he arrives, a smiling drake asks to join him in the samba dance. The duo is soon joined by a goose that delights in singing "quem, quem" too, and then they invite a swan to round out the quartet.
The group of birds gathers by the edge of the lagoon to rehearse their number, which is revealed to be "Tico-Tico no Fubá." The duck's voice proves to be uniquely impudent and comical, hamming it up with the drake in a way that both amuses and annoys the rest of the group. Eventually, the birds all fall into the water, but they are still singing and quacking, demonstrating their commitment to the art of the samba. The lyrics of "O Pato" embody a lighthearted playfulness that is perfectly suited to the joyful sound of Brazilian bossa nova music.
Line by Line Meaning
O pato vinha cantando alegremente, quém, quém
The happy duck was singing loudly with joy.
Quando um marreco sorridente pediu Pra entrar também no samba, no samba, no samba
A smiling duck asked if he could join in the samba as well.
O ganso gostou da dupla e fez também quém, quém
The goose liked the pair and made sounds too.
Olhou pro cisne e disse assim 'vem, vem' Que o quarteto ficará bem, muito bom, muito bem
He looked at the swan and said, 'come on, come on, the quartet will be good, very good.'
Na beira da lagoa foram ensaiar Para começar o tico-tico no fubá
They practiced at the edge of the pond to play 'Tico-Tico no Fubá.'
A voz do pato era mesmo um desacato Jogo de cena com o ganso era mato
The duck's voice was out of tune and the banter with the goose was easy.
Mas eu gostei do final quando caíram n'água E ensaiando o vocal quém, quém, quém, quém quém, quém, quém, quém
But I enjoyed the end when they fell in the water and continued singing 'quém, quém, quém' while rehearsing.
Lyrics © Editora e Importadora Musical Fermata do Brasil Ltda.
Written by: Jayme Silva, Neuza Teixeira
Lyrics Licensed & Provided by LyricFind
Little Ibn
Melhor versão sem dúvidas
Tio Troslater
Antigo, mais muito top ainda !
Yeshua Valentino
It's my favorite also... really loves this version :-)
Nay Porttela
Sensacional
Nicolas Maia
bom