Luiz Bonfá - O Violão e o Samba RELOADED (1962) [Jazz Latin][m

  • 15.06.2016, 20:00,
  • Music
Luiz Bonfá — O Violão e o Samba RELOADED
Year: 1962
Je Sais Quoi: 320 kbps

Luiz Floriano Bonfá (October 17, 1922 - January 12, 2001) was a Brazilian guitarist and composer best known for the compositions he penned for the coat Sinister Orpheus.

Bonfá was born on October 17, 1922 in Rio de Janeiro. He began teaching himself to occupy oneself in guitar as a child; he feigned in Rio with Uruguayan standard guitarist Isaías Sávio from the age of twelve. These weekly lessons entailed a extensive, discordant commute by bar and on foot from his people relaxed in the western bucolic outskirts of Rio de Janeiro to the teacher«s relaxed in the hills of Santa Teresa. Given Bonfá»s exceptional faithfulness and ability for the guitar, Sávio excused the youngster's incapacity to pay for his lessons.

Bonfá first gained widespread laying open in Brazil in 1947 when he was featured on Rio«s Rádio Nacional, then an foremost showcase for up-and-coming ability. He was a colleague of the vocal crowd Quitandinha Serenaders in the current 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 Antonio Carlos Jobim and Vinicius de Moraes, the important songwriting span behind the worldwide bang of Brazilian jazz/pop music in the current 1950s and 1960s. Bonfá collaborated with these and with other significant Brazilian musicians and artists in productions of de Moraes» anthological occupy oneself in Orfeu da Conceição, which several years later gave cradle to Marcel Camus« mythic coat «Black Orpheus» (Orfeu Negro in Portuguese). In the burgeoning days of Rio de Janeiro»s thriving jazz locality, it was commonplace for musicians, artists, and dramatists to span up in such overdone presentations. Bonfá wrote some of the music featured in the coat, including the numbers «Samba de Orfeu» and his most well-known shaping, «Manhã de Carnaval» (translated to English as «A Day in the Sustenance of a Fool» ), which has been among the top ten standards played worldwide, according to The Guinness Reserve of Out Of Sight Records.

As a composer and actor, Bonfá was at resolution an exponent of the daredevil, lyrical, lushly orchestrated, and emotionally charged samba-canção trend that predated the traveller of João Gilberto«s more gentle and sobered bossa nova trend. Jobim, João Donato, Dorival Caymmi, and other contemporaries were also essentially samba-canção musicians until the impetuous, tremendous trend of the na Gilberto»s together trend of guitar playing and expressively muted vocals transformed the music of the day into the music of the subsequent. Camus« coat and Gilberto»s and Jobim«s collaborations with American jazzmen such as Stan Getz and Charlie Byrd did much to bring about a display Brazilian predominating music to the notice of the out of sight, and Bonfá became a tremendously unmistakeable legate of Brazilian music in the Collaborative States dawn with the well-known November 1962 Bossa Nova concert at New York»s Carnegie Corridor.

Bonfá lived in the USA from the originally 1960s until 1975. He worked with American musicians such as Quincy Jones, George Benson, Stan Getz, and Uninhibited Sinatra, recording several albums while in Collaborative States. Elvis Presley sang a Bonfá shaping, «Almost in Love», in the 1968 MGM coat «Live a Little, Fervour a Little». Bonfá remained well-connected in the US after returning to Brazil, but his promote receded into proportional nebulousness during his fixed decades. His last album, 1997's «Almost in Love», was a collaboration with Brazilian troubadour Ithamara Koorax.

Bonfá died in Rio de Janeiro on January 12, 2001 from prostate cancer intricate by ischemia. He was 78 years old.

In 2005, Smithsonian Folkways Recordings released an album of Bonfá's toil, entitled, «Solo in Rio 1959», which included times unreleased substantial from the recording sitting.

In 2008, Wide-Ranging Music France released a coffee inventory reserve containing two CDs which included times unreleased substantial of «Black Orpheus» soundtrack, and a DVD. Also in 2008, Wide-Ranging Music released «The Brazilian Scene» , «Braziliana» and «Black Orpheus» celebrating the 50th anniversary of the bossa nova.

Bonfá«s serious legacy continues to be his compositions from the «Black Orpheus» soundtrack, most meaningfully the instantly recognizable bossa nova time-honoured «Manhã de Carnaval. » But Bonfá»s giant discography also attests to his uniquely inventive mastery of Brazilian jazz guitar. Bonfá's guitar trend was brassier and more perspicuous than that of his serious coincidental, João Gilberto, and Bonfá was a ordinary and skilful soloist whereas Gilberto plays his own debonair, daedal of time guitar almost exclusively. Bonfá often played individual guitar in a polyphonic trend, harmonizing euphony lines in a social graces almost identical to that made well-known by Wes Montgomery in the USA, or playing precede b approach and time parts simultaneously. As a composer and as a guitarist, Bonfá played a radical r in bridging the occupant samba-canção trend with the innovations of the bossa nova trend. ~ wikipedia

Luiz Bonfá — O Violão e o Samba Tracklisting:
01 Inquietação (2:27)
02 Nossos Momentos (2:35)
03 Meu Nome é Ninguém (1:45)
04 Lamento No Morro (2:10)
05 Pastorinhas (2:40)
06 Voce Chegou Sorrindo (2:26)
07 Murmúrio (2:31)
08 Liberdade Demais (1:56)
09 Amor Em Brasilia (2:19)
10 Saudade Da Bahia (Mind For Bahia) (2:30)
11 Copacabana (2:03)
12 Amor De Solidão (2:43)

marvellous Japanese fan«s in featuring Bonfá»s flabbergasting recorded result can be initiate here:

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