Bossa nova formed the soundtrack to a period of cultural originality, from architecture to football, that augured a bright future for Brazil
João Gilberto’s fault, and as a perfectionist no doubt he suffered from it more than anyone, that his greatest hit, “The Girl from Ipanema”, has been mutilated into supermarket Muzak. At its height, in the late 1950s and early 1960s, the Brazilian fusion of samba, jazz, and other things too, known as bossa nova entranced the world. Back home, it formed the soundtrack to a period of cultural originality, from architecture to football, that seemed to augur a bright future for Brazil.
It started with “Chega de Saudade” , a short single which gave its title to an album that sold 500,000 copies in Brazil. Its controlled phrasing was seen as “a kick up the backside” to the era of romantic crooners, according to Ruy Castro, bossa nova’s chronicler. Jobim and de Moraes’s “The Girl from Ipanema”, a languid musing on the wistful contemplation of beauty by age, had its first performance, by Mr Gilberto, in a Rio nightclub in 1962. That was both zenith and swansong for bossa nova.
The bossa nova era was one of two great, creative ebullitions in 20th-century Brazil. The first came in the 1920s when a group of painters and writers embraced modernism under the banner of. Rather than merely imitating or rejecting foreign works of art, they consumed and then regurgitated them to create something both authentically Brazilian and universal.
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