Luiz Floriano Bonfá was born in Rio de Janeiro. He began teaching himself to play guitar as a child. He studied in Rio with Uruguayan classical guitarist Isaías Sávio from the age of 12. These weekly lessons entailed a long, harsh commute by rail and on foot from his family home in the western rural outskirts of Rio de Janeiro to the teacher's home in the hills of Santa Teresa. Given Bonfá's extraordinary dedication and talent for the guitar, Sávio excused the youngster's inability to pay for his lessons.
Bonfá first gained widespread exposure in Brazil in 1947 when he was featured on Rio's Rádio Nacional, then an important showcase for up-and-coming talent. He was a member of the vocal group Quitandinha Serenaders in the late 1940s. Some of his compositions were recorded and performed by Brazilian crooner Dick Farney in the 1950s. It was through Farney that Bonfá was introduced to Antônio Carlos Jobim and Vinicius de Moraes, the leading songwriting team behind the worldwide explosion of Brazilian jazz/pop music in the late 1950s and 1960s. Bonfá collaborated with them and with other prominent Brazilian musicians and artists in productions of de Moraes' anthological play Orfeu da Conceição, which several years later gave origin to Marcel Camus' film Black Orpheus (Orfeu Negro in Portuguese). In the burgeoning days of Rio de Janeiro's thriving jazz scene, it was commonplace for musicians, artists, and dramatists to collaborate in such theatrical presentations. Bonfá wrote some of the original music featured in the film, including the numbers "Samba de Orfeu" and his most famous composition, "Manhã de Carnaval" (of which Carl Sigman later wrote a different set of English lyrics titled "A Day in the Life of a Fool"), which has been among the top ten standards played worldwide, according to The Guinness Book of World Records.
As a composer and performer, Bonfá was at heart an exponent of the bold, lyrical, lushly orchestrated, and emotionally charged samba-canção style that predated the arrival of João Gilberto's more refined and subdued bossa nova style. Jobim, João Donato, Dorival Caymmi, and other contemporaries were also essentially samba-canção musicians until the sudden, massive popularity of the young Gilberto's unique style of guitar playing and expressively muted vocals transformed the music of the day into the music of the future. Camus' film and Gilberto's and Jobim's collaborations with American jazzmen such as Stan Getz and Charlie Byrd did much to bring Brazilian popular music to the attention of the world, and Bonfá became a highly visible ambassador of Brazilian music in the United States beginning with the famous November 1962 Bossa Nova concert at New York's Carnegie Hall.
Bonfá worked with American musicians such as Quincy Jones, George Benson, Stan Getz, and Frank Sinatra, recording several albums while in United States. Elvis Presley sang a Bonfá composition, "Almost in Love", in the 1968 MGM film Live a Little, Love a Little. Also of note is his "The Gentle Rain".
Bonfá died in Rio de Janeiro on January 12, 2001. He was 78 years old.
Legacy
In 2005, Smithsonian Folkways Recordings released an album of Bonfá's work, entitled, Solo in Rio 1959, which included previously unreleased material from the original recording session.
In 2008, Universal Music France released a coffee table book containing two CDs which included previously unreleased material of Black Orpheus soundtrack, and a DVD. Also in 2008, Universal Music released The Brazilian Scene, Braziliana and Black Orpheus celebrating the 50th anniversary of the bossa nova.
Bonfá's major legacy continues to be his compositions from the Black Orpheus soundtrack, most notably the instantly recognizable bossa nova classic "Manhã de Carnaval". But Bonfá's discography also attests to his uniquely inventive mastery of Brazilian jazz guitar. Bonfá's guitar style was brassier and more penetrating than that of his major contemporary, João Gilberto, and Bonfá was a frequent and adept soloist whereas Gilberto plays his own suave, intricate brand of rhythm guitar almost exclusively. Bonfá often played solo guitar in a polyphonic style, harmonizing melody lines in a manner similar to that made famous by Wes Montgomery in the USA, or playing lead and rhythm parts simultaneously. As a composer and as a guitarist, Bonfá played a pivotal role in bridging the incumbent samba-canção style with the innovations of the bossa nova movement.
Bonfá's "Seville" was sampled by Gotye for his 2011 hit single release "Somebody That I Used to Know". This created the guitar hook, and foundations of a song which reached the 10 top in over 30 countries.
Seringueiro
Luiz Bonfá Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Sou do Amazonas, seringueiro e pescador.
Quando à tarde vou pro rio me lembro de Rosa Flor,
A morena que no mundo só nasceu pro meu amor.
Sou do Amazonas, seringueiro e pescador.
Sou do Amazonas, seringueiro e pescador.
O silêncio é tão profundo faz bater meu coração.
Sou do Amazonas, seringueiro e pescador.
Sou do Amazonas, seringueiro e pescador.
Quando a noite vou sozinho pelo meio do matão,
O silêncio é tão profundo faz bater meu coração.
Sou do Amazonas, seringueiro e pescador.
Sou do Amazonas, seringueiro e pescador.
The lyrics to Luiz Bonfá's "Seringueiro" speak of the identity of the singer as a seringueiro (rubber tapper) and pescador (fisherman) from Amazonas. Throughout the verses, the singer recalls memories of his loved one, Rosa Flor, who was born solely for his love. The opening line clearly establishes the singer's identity and ties him directly to the Amazonian region he inhabits. The repetition of the line emphasizes how central this fact is to his sense of self.
The second and third verses are similar in structure and content as they both depict the singer wandering alone through the forest in different periods of the day. The quietness of the surroundings is a powerful presence that makes his heartbeat faster. The singer’s loneliness in the vast Brazilian wilderness reflects how his life, like his work, is both isolated and close to nature. The repetition of the chorus at the end of each verse provides a feeling of unity, and there's a sense of pride and resilience in this identity.
Line by Line Meaning
Sou do Amazonas, seringueiro e pescador.
I am from Amazonas and make my living through rubber tapping and fishing.
Quando à tarde vou pro rio me lembro de Rosa Flor,
When I go to the river in the afternoon, I remember Rosa Flor, the woman who exists only for my love.
A morena que no mundo só nasceu pro meu amor.
The brunette who was born in the world solely for my love.
Quando a noite vou sozinho pelo meio do matão,
When I go alone through the forest at night,
O silêncio é tão profundo faz bater meu coração.
The profound silence makes my heart beat faster.
Writer(s): Luiz Bonfá
Contributed by Brayden Y. Suggest a correction in the comments below.