A violeira tom jobim biography

Brazilian songwriter and vocalist Antonio Carlos Jobim — was one of the creators of the subtle, whispery, jazz-influenced popular song style known as bossa nova. He has been widely acclaimed as one of Brazil's greatest and most innovative musicians of the twentieth century. His creative contributions to jazz, however, went much deeper; many of his songs became jazz standards, and, in the words of Richard S.

Ginell of the All Music Guide , "Every other set" performed in jazz clubs "seems to contain at least one bossa nova. He grew up in the seaside southern Rio suburb of Ipanema, later the setting for his most famous song, and many of his compositions reflected Brazil's lush natural world in one way or another. Both of Jobim's parents were educators, and his father, Jorge Jobim, was also active as a diplomat.

But Jobim took after an uncle who played classical guitar, and he soon showed unusual talent of his own. Jobim's mother, Nilza, rented a piano for the family home, and when Jobim was 14 he began piano lessons with Hans Joachim Koellrutter, a local music scholar of German background who favored the latest experimental trends in European classical music.

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Jobim would later point to the influence exerted by French Impressionist composers Claude Debussy and Maurice Ravel on his own music, but a new set of influences was on its way to Brazil in the form of American jazz. Jobim enrolled in architecture school, lasted less than a year, and worked as an assistant to a local architect in the early s.

His real energies were directed toward music, as he gained experience playing piano in small nightclubs known as inferninhos , or little infernos. Visits to Rio by the Duke Ellington Orchestra and other American jazz bands shaped Jobim's own attempts at composition which he buried in a drawer at first and inspired him to settle on a musical career.

In he married his first wife, Thereza Hermanny; they raised a son, Paulo, and a daughter, Elisabeth. With his well-rounded musical education, by the early s Jobim was able to graduate from Rio's bars to staff arranging positions with the Continental and Odeon record labels. At this point Jobim was working in the genre of samba, Brazil's national pop song style, and he sometimes performed his own samba compositions.

The play and film transferred the classic Greek myth of Orpheus and Eurydice to modern-day Rio de Janeiro, and Moraes suggested that Jobim write the music for it. It was based in samba rhythms, but it featured subtle harmonic shadings drawn from jazz.