It’s almost impossible to separate the name from the style of , and for very good reason!
The Brazilian , pianist, guitarist and – also known as – brought this modified style of from local popularity in Rio de Janeiro to international success.
Whilst he famously collaborated with greats such as and , a whole host of other in the 1960s helped bring Jobim songs – and in general – to widespread attention, including , and Oscar Peterson.
In this article, we’ve focused on the composer and the , to pick 10 essential albums for you to listen to!
The of (1963, Verve)
Born 25 January 1927 in Rio de Janeiro, Brasileiro de Almeida Jobim (as he was named), got his start playing in the nightclubs of his home city, before working in the 1950s as an in Continental Studios.
His big break as an international name came in 1958 when Brazilian and guitarist recorded an featuring two of his most popular songs, & Desafinado.
The latter had such an impact on the American market that it led not only to a performance at , but a record deal with legendary label Verve for Jobim, but an referencing the .
Perhaps one of the most successful debut albums in , The of features 12 instrumentals (arranged by arranged by ) including that : The Girl From Ipanema.
Whilst most tracks on the record have gone on to be latin standards, that opening track (known in Brazilian as and inspired by 17 year-old Helô Pinheiro) is reportedly the most recorded in history behind the Beatles’ Yesterday.
An interesting story about this is that Jobim plays both guitar and piano, although the American producers wanted him to play only guitar to create the image of a “Latin lover with the guitar” as it shows on the cover itself.
Getz/Gilberto (1964, Verve)
Whilst not technically a Jobim ( is the bandleader), the record features the on piano playing mostly his own compositions.
This is arguably one of the most important jazz albums in history, credited for fusing the two worlds of Latin and jazz and bringing the resulting style to massive mainstream attention and commercial success.
The landmark recording features ‘s whispery, quiet way of singing which quickly became influential on many female vocalists at the time.
Winning multiple Grammy Awards, it’s a true masterpiece and a top recommendation for any fan looking to dip their toe into this style of .
Wave (1967, A&M Records)
Wave was the fifth studio of , recorded in the famous Van Gelder Studio in New Jersey with an ensemble of elite such as Urbie Green and Jimmy Cleveland on trombone, Jerome Richardson on flute and Ron Carter on double bass.
‘s simple, yet beautifully written string arrangements complement the ensemble’s sound, creating a somewhat magical atmosphere.
The title “Wave” has become one of the most famous standards, with recordings by a whole host of including Oscar Peterson, Ahmad Jamal, McCoy Tyner, Sarah Vaughan, Fred Hersch and Bill Frisell – to name just a few.
Francis Albert Sinatra & (1967, Reprise)
No rising star of the era would be complete without a collaboration with , and this recording showcases the perfect match up of two performers famed for their laid-back style.
The choice of repertoire (Jobim compositions plus three Great American Songbook songs in a bossa style) provide the perfect platform for Sinatra to combine his unique style of phrasing with the heartfelt melodies of latin .
The was nominated for Grammy Award for of the Year in 1968 but lost to the Beatles.
Stone Flower (1970, CTI Records)
Another that was been recorded at the legendary Van Gelder Studio, Stone Flower is something of a hidden gem in Tom Jobim’s discography.
For a start, it features a stellar band: Harry Lookofsky on violin, Joe Farrell on soprano saxophone, Urbie Green on trombone, Hubert Laws on flute, on guitar and arrangements, Joao Palma on drums, Ron Carter on double bass and Airto Moreira & Everaldo Ferreira on percussion.
Deodato’s arrangements sound lighter than Ogerman’s works, and the whole is a joyful, playful piece of art.
It’s interesting to note that the “Brazil” is ‘quoted’ on every track, creating the sensation of listening to a suite rather than individual songs.
Best digested from start to finish, Stone Flower is the perfect for a late-night listening session.
Tide (1970, A&M Records)
Tide was Jobim’s second on A&M, continuing his collaboration with and guitarist (as on Stone Flower).
Another outing for his hit “The Girl from Ipanema” is given a heavier, more serious treatment than the old arrangements and the overall sound of this record is more energetic than his earlier offerings.
Listen out for Hermeto Pascoal’s multi-phonic flute playing on “Tema ” and the fact that the title “Tide” is a cheeky variation of “Wave” as it is based on the same chord changes.
Jobim (1973, MCA)
Released in his homeland as ‘Matita Perê‘ this has an interesting story, being started in Brazil and finished in New York City, due to the martial law that had been imposed in the former.
Jobim is a true masterpiece by the hands of the songwriter, with his his long-time friend, conductor and providing a beautifully imposing and powerful score.
There are influences of classical amongst the ; some of the songs such as “Tempo Do Mar” could easily be by Ravel or Debussy, who were influences of Jobim.
Referring to the title “Matita Perê” poet, lyricist Paulo César Pinheiro said: “It’s a half-symphonic , with a time far too long for radio – almost ten minutes of recording. When I told him that ‘this will not be played on the radio,’ he replied, ‘This isn’t for now. It’s for the future.”
Elis & Tom (1974, Philips Records)
Regarded as one of the greatest Brazilian pop recordings of all time, this was a longtime goal of famed , who dreamt of recording an of Jobim’s compositions with him.
The dream came true in 1974 when she celebrated her 10th anniversary as a Philips recording artist, who approved the project as a gift for her.
Regina’s voice, range and unique phrasing makes her one of the most loved singers in Brazil, and her partnership with Jobim makes this a unique, must-have record in any latin collection.
The highlights of this recording are “Corcovado” which is performed with an orchestra, and the Jobim ballad “Inútil Paisagem” which is played in duo; full of restraint and emotion by , it’s a fitting finale to the .
Inédito (1987 limited release, 1995 general re-release)
Inédito was Jobim’s 60th birthday , privately commissioned by the Brazilian conglomerate Odebrecht.
They allowed him to complete artistic and financial control in exchange to distribute 4000 copies of these recordings to schools, libraries, museums and Odebrecht customers.
Despite this financial freedom, Jobim decided to record the in his home in Rio de Janeiro, turning his piano room into a studio.
As for the musicians, he chose his touring group, Banda Nova, which included friends and family members.
Something of a ‘greatest hits’ in part, the contains all the classics such as Wave, Desafinado and The Girl from Ipanema, alongside some lesser-known Jobim compositions.
Later, in 1995, Ariola records re-released the record to the general public.
Passarim (1987, Verve)
Recorded around the same time as his birthday Inédito with his new band, Banda Nova, this Jobim contains songs both in English and Portuguese.
The title Passarim is “a three-and-a-half-minute condensed masterpiece” as critic Ben Ratliff called it, which would influence a whole generation of contemporary composers.
The blend of female and male vocals harmonising the melodies creates this rich, effortless sound with the instruments keeping busy in the background.
continued writing and recording from his base of New York City until his death from a heart attack in 1994.
Remembered as one of the most important composers and songwriters of all time, his continues to be given new life through new releases in the world of and beyond.
We hope you enjoyed discovering and listening to more music from The Father of Bossa Nova!
Looking for more Latin sounds? Check out our round up of the best latin jazz albums here.
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