Grammy Award for Best Latin Jazz Album
The Grammy Award for Best Latin Jazz Album is an award presented at the Grammy Awards, a ceremony, established in 1958 and called the Gramophone Awards, to recording artists for quality works in the Latin jazz music genre. Honors in several categories are presented at the ceremony annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position". Called the Grammy Award for Best Latin Jazz Performance, the award was first presented to Arturo Sandoval in 1995; the name of the category was changed to Best Latin Jazz Album in 2001, the same year producers, and/or mixers associated with the winning work became award recipients in addition to the recording artists. According to the category description guide for the 52nd Grammy Awards, the award is presented to "vocal or instrumental albums containing at least 51% playing time of newly recorded material", with the intent to recognize the "blending" of jazz music with Argentinian, Iberian-American, Latin tango music.
Beginning in 1998, members of the Latin Academy of Recording Arts & Sciences are eligible to vote in the Latin categories including Best Latin Jazz Album. As of 2016, Paquito D'Rivera and Chucho Valdés share the record for the most wins in this category, with three each. Two-time recipients include Sandoval, Charlie Haden, Eddie Palmieri. Since its inception, the award has been presented to musicians or groups originating from Brazil, the Dominican Republic, the United States. Ray Barretto and Wayne Wallace hold the record for the most nominations with four; the award was not presented in 2012 as part of a major overhaul of Grammy categories. However following protests and a lawsuit made by Latin jazz musicians, the Recording Academy announced it would be bringing back the category for the 55th Grammy Awards. ^ Each year is linked to the article about the Grammy Awards held that year. Afro-Cuban jazz Billboard Latin Music Award for Latin Jazz Album of the Year Latin Grammy Award for Best Latin Jazz/Jazz Album List of Grammy Award categories Tango Official website of the Grammy Awards
São Paulo is a municipality in the Southeast Region of Brazil. The metropolis is an alpha global city and the most populous city in Brazil, the Western Hemisphere and the Southern Hemisphere, besides being the largest Portuguese-speaking city in the world; the municipality is the Earth's 11th largest city proper by population. The city is the capital of the surrounding state of São Paulo, the most populous and wealthiest state in Brazil, it exerts strong international influences in commerce, finance and entertainment. The name of the city honors Saint Paul of Tarsus; the city's metropolitan area, the Greater São Paulo, ranks as the most populous in Brazil and the 12th most populous on Earth. The process of conurbation between the metropolitan areas located around the Greater São Paulo created the São Paulo Macrometropolis, a megalopolis with more than 30 million inhabitants, one of the most populous urban agglomerations in the world. Having the largest economy by GDP in Latin America and the Southern Hemisphere, the city is home to the São Paulo Stock Exchange.
Paulista Avenue is the economic core of São Paulo. The city has the 11th largest GDP in the world, representing alone 10.7% of all Brazilian GDP and 36% of the production of goods and services in the state of São Paulo, being home to 63% of established multinationals in Brazil, has been responsible for 28% of the national scientific production in 2005. With a GDP of US$477 billion, the São Paulo city alone would have ranked 26th globally compared with countries by 2017 estimates; the metropolis is home to several of the tallest skyscrapers in Brazil, including the Mirante do Vale, Edifício Itália, North Tower and many others. The city has cultural and political influence both nationally and internationally, it is home to monuments and museums such as the Latin American Memorial, the Ibirapuera Park, Museum of Ipiranga, São Paulo Museum of Art, the Museum of the Portuguese Language. The city holds events like the São Paulo Jazz Festival, São Paulo Art Biennial, the Brazilian Grand Prix, São Paulo Fashion Week, the ATP Brasil Open, the Brasil Game Show and the Comic Con Experience.
The São Paulo Gay Pride Parade rivals the New York City Pride March as the largest gay pride parade in the world. São Paulo is a cosmopolitan, melting pot city, home to the largest Arab and Japanese diasporas, with examples including ethnic neighborhoods of Mercado and Liberdade respectively. São Paulo is home to the largest Jewish population in Brazil, with about 75,000 Jews. In 2016, inhabitants of the city were native to over 200 different countries. People from the city are known as paulistanos, while paulistas designates anyone from the state, including the paulistanos; the city's Latin motto, which it has shared with the battleship and the aircraft carrier named after it, is Non ducor, which translates as "I am not led, I lead." The city, colloquially known as Sampa or Terra da Garoa, is known for its unreliable weather, the size of its helicopter fleet, its architecture, severe traffic congestion and skyscrapers. São Paulo was one of the host cities of the 2014 FIFA World Cup. Additionally, the city hosted the IV Pan American Games and the São Paulo Indy 300.
The region of modern-day São Paulo known as Piratininga plains around the Tietê River, was inhabited by the Tupi people, such as the Tupiniquim and Guarani. Other tribes lived in areas that today form the metropolitan region; the region was divided in Caciquedoms at the time of encounter with the Europeans. The most notable Cacique was Tibiriça, known for his support for the Portuguese and other European colonists. Among the many indigenous names that survive today are Tietê, Tamanduateí, Anhangabaú, Diadema, Itapevi, Embu-Guaçu etc... The Portuguese village of São Paulo dos Campos de Piratininga was marked by the founding of the Colégio de São Paulo de Piratininga on January 25, 1554; the Jesuit college of twelve priests included Spanish priest José de Anchieta. They built a mission on top of a steep hill between the Tamanduateí rivers, they first had a small structure built of rammed earth, made by American Indian workers in their traditional style. The priests wanted to evangelize – teach the Indians who lived in the Plateau region of Piratininga and convert them to Christianity.
The site was separated from the coast by the Serra do Mar, called by the Indians Serra Paranapiacaba. The college was named for a Christian saint and its founding on the feast day of the celebration of the conversion of the Apostle Paul of Tarsus. Father José de Anchieta wrote this account in a letter to the Society of Jesus: The settlement of the region's Courtyard of the College began in 1560. During the visit of Mem de Sá, Governor-General of Brazil, the Captaincy of São Vicente, he ordered the transfer of the population of the Village of Santo André da Borda do Campo to the vicinity of the college, it was named "College of St. Paul Piratininga"; the new location was on a steep hill adjacent to a large wetland, the lowland do Carmo. It offered better protection from attacks by local Indian groups, it was renamed belonging to the Captaincy of São Vicente. For the next two centuries, São Paulo developed as a poor and isolated village that survived through the cultivation of subsistence crops by the labor of natives.
For a long time, São Paulo was the only village in Brazil's interior, as travel was too difficult for many to reach the area. Mem de Sá forbade colonists to use the "Path Pir
Bossa Nova Stories
Bossa Nova Stories is the nineteenth studio album by Brazilian jazz artist Eliane Elias. It was released on June 2008 via Blue Note label; the album is a tribute to commemorate the 50th anniversary of the bossa nova music style. Cristophen Loudon of Jazz Times wrote "Chronologically, she is two years younger than the bossa nova and two years older than Antonio Carlos Jobim and Vinicius de Moraes’ iconic “The Girl From Ipanema,” the song that ignited the worldwide bossa-nova craze. Musically, with her honeyed voice and luxurious as the finest Aubusson carpet, her sumptuous appeal as a pianist and her skill for subtle, cozy arrangements, Elias seems the living, breathing extension of the oxymoronic plush minimalism that defines bossa nova."Ken Dryden of Allmusic stated "Eliane Elias returns to the music of her native Brazil with this collection of bossa nova favorites, though there are a few American standards and pop songs recast as bossa novas as well. The pianist has grown in confidence as a vocalist over the course of several CDs, developing a sexy yet never overdone style that beautifully complements the music.
With her husband Marc Johnson, drummer Paulo Braga, either Oscar Castro-Neves or Ricardo Vogt on acoustic guitar, a pair of guests, Elias proves herself as a talented singing pianist, effortlessly switching between English and Portuguese lyrics." Eliane Elias – vocals and piano Oscar Castro Neves – guitar Ricardo Vogt – guitar Marc Johnson – bass Paulo Braga – drums and percussion Toots Thielmans – harmonica Ivan Lins – vocal Rob Mathes – orchestra arranging and conducting Official website
Bossa nova is a style of Brazilian music, developed and popularized in the 1950s and 1960s and is today one of the best-known Brazilian music styles abroad. The phrase bossa nova means "new trend" or "new wave". A lyrical fusion of samba and jazz, bossa nova acquired a large following in the 1960s among young musicians and college students. In Brazil, the word "bossa" is old-fashioned slang for something, done with particular charm, natural flair or innate ability; as early as 1932, Noel Rosa used the word in a samba: "O samba, a prontidão e outras bossas são nossas coisas, são coisas nossas." The exact origin of the term "bossa nova" remained unclear for many decades, according to some authors. Within the artistic beach culture of the late 1950s in Rio de Janeiro, the term "bossa" was used to refer to any new "trend" or "fashionable wave". In his book Bossa Nova, Brazilian author Ruy Castro asserts that "bossa" was in use in the 1950s by musicians as a word to characterize someone's knack for playing or singing idiosyncratically.
Castro claims that the term "bossa nova" might have first been used in public for a concert given in 1957 by the Grupo Universitário Hebraico do Brasil. The authorship of the term "bossa nova" is attributed to the then-young journalist Moyses Fuks, promoting the event; that group consisted of Sylvia Telles, Carlos Lyra, Nara Leão, Luiz Eça, Roberto Menescal, others. Mr. Fuks's description supported by most of the bossa nova members read "HOJE. SYLVIA TELLES E UM GRUPO BOSSA NOVA", since Sylvia Telles was the most famous musician in the group at that time. In 1959, Nara Leão participated in more than one embryonic display of bossa nova; these include the 1st Festival de Samba Session, conducted by the student union of Pontifícia Universidade Católica. This session was chaired by Carlos Diegues, a law student whom Leão married. Bossa nova is most performed on the nylon-string classical guitar, played with the fingers rather than with a pick, its purest form could be considered unaccompanied guitar with vocals, as created and exemplified by João Gilberto.
In larger, jazz-like arrangements for groups, there is always a guitar that plays the underlying rhythm. Gilberto took one of the several rhythmic layers from a samba ensemble the tamborim, applied it to the picking hand. According to Brazilian musician Paulo Bitencourt, João Gilberto, known for his eccentricity and obsessed by the idea of finding a new way of playing the guitar locked himself in the bathroom, where he played one and the same chord for many hours in a row; as in samba, the surdo plays an ostinato figure on the downbeat of beat one, the "ah" of beat one, the downbeat of beat two and the "ah" of beat two. The clave pattern sounds similar to the two-three or three-two son clave of Cuban styles such as mambo but is dissimilar in that the "two" side of the clave is pushed by an eighth note. Important in the percussion section for bossa nova is the cabasa, which plays a steady sixteenth-note pattern; these parts are adaptable to the drum set, which makes bossa nova a rather popular Brazilian style for drummers.
Certain other instrumentations and vocals are part of the structure of bossa nova: Bossa nova has at its core a rhythm based on samba. Samba feel originating in former African slave communities. Samba's emphasis on the second beat carries through to bossa nova. However, unlike samba, bossa nova doesn't have dance steps to accompany it; when played on the guitar, in a simple one-bar pattern, the thumb plays the bass notes on 1 and 2, while the fingers pluck the chords in unison on the two eighth notes of beat one, followed by the second sixteenth note of beat two. Two-measure patterns contain a syncopation into the second measure. Overall, the rhythm has a "swaying" feel rather than the "swinging" feel of jazz; as bossa nova composer Carlos Lyra describes it in his song "Influência do Jazz", the samba rhythm moves "side to side" while jazz moves "front to back". Bossa nova was influenced by the blues, but because the most famous bossa novas lack the 12-bar structure characteristic of classic blues, as well as the statement and rhyming resolution of lyrics typical of the genre, bossa nova's affinity with the blues passes unnoticed.
Aside from the guitar style, João Gilberto's other innovation was the projection of the singing voice. Prior to bossa nova, Brazilian singers employed brassy operatic styles. Now, the characteristic nasal vocal production of bossa nova is a peculiar trait of the caboclo folk tradition of northeastern Brazil; the lyrical themes found in bossa nova include women, longing, nature. Bossa Nova was apolitical; the musical lyrics of the late 1950s depicted the easy life of the middle to upper-class Brazilians, though the majority of the population was in the working class. However, in conjunction with political developments of the early 1960s, the popularity of bossa nova was eclipsed by Música popular brasileira, a musical genre that appeared around the mid-1960s, featuring lyrics that were more politically charged, referring explicitly to working class struggle. Luiz BonfáLuiz Bonfá Plays and Sings Bossa Nova Jazz Samba Encore! with Stan Getz Bob BrookmeyerTrombone Jazz Samba (recorded August 2
Vinicius de Moraes
Marcus Vinicius da Cruz e Mello Moraes known as Vinícius de Moraes and nicknamed O Poetinha, was a Brazilian poet, lyricist and playwright. He served as a diplomat, composed bossa nova music, recorded several albums. Moraes was born in Gávea, a suburb of Rio de Janeiro, to Clodoaldo da Silva Pereira Moraes, a public servant, Lidia Cruz, a housewife and amateur pianist. In 1916, his family moved to Botafogo. In 1920, he gained entrance to a Masonic lodge through his maternal grandfather. Fleeing the 18 of the Copacabana Fort revolt, his parents moved to Governador Island while Moraes remained at his grandfather's home in Botafogo to finish school. During visits with his parents on weekends and holidays, he became acquainted with the composer Bororo. Beginning in 1924, Moraes attended St. Ignatius, a Jesuit high school, where he sang in the choir and wrote theatrical sketches. Three years he became friends with the brothers Paulo and Haroldo Tapajos, with whom he wrote his first musical compositions, which were performed at friends' parties.
In 1929, he completed his family moved back to Gávea. During the same year, he was admitted to the Faculty of Law at the University of Rio de Janeiro. At the "School of Catete", he became friends with essayist and future novelist Octavio de Faria, an activist integrist Catholic and leader of a group of right-wing Catholics organized around Centro Dom Vital, a think-tank created by Jackson de Figueiredo shortly before his death. Faria encouraged Moraes's literary vocation. Moraes received his college degree in Legal and Social Sciences in 1933. Soon after, he published his first two collections of poetry: Caminho para a distancia and Forma e exegese. Both collections were published under Octavio de Faria's informal editorship; the collections were symbolist poetry concerned with Catholic mysticism and the search for redemption against sexual seduction. In the essay "Two Poets", Faria compared Moraes's poetry to that of Augusto Frederico Schmidt; the tension between Faria and Moraes' mutual Catholic activism and Faria's homosexual attraction toward Moraes limited their friendship.
Faria attempted suicide because of his unrequited love for Moraes. Despite their estrangement, Moraes wrote two sonnets, the first in 1939, the second during the 1960s in ambivalent praise of his friend. In 1936, Moraes became film censor for the Ministry of Health. Two years he won a British Council fellowship to study English language and literature at Oxford University, he abandoned his use of blank verse and free verse in favor of the sonnet, both the Italian form used in Portuguese poetry and the English form. He was considered one of the most prominent of the "generation of'45", a group of Brazilian writers in the 1930s and 1940s who rejected early modernism in favor of traditional forms and vocabulary, he is equated with his friend João Cabral de Melo Neto for the high technical skill of their poetry. However, if in Cabral's works technique served the depiction of objective reality, in Moraes's work technique served the depiction of the subjective mood of sexual love; the basic meter in Moraes's love poetry is the decasyllable, taken from Camoes' lyrical poetry.
During his stay in England, Moraes wrote. He was married to Beatriz Azevedo de Mello, with whom he had two children: filmmaker Suzana de Moraes and Pedro. In 1941, he returned to Brazil and worked as a film critic for the newspaper A Manha, as a contributor to the literary journal Clima, at the Banking Employees' Institute of Social Security, the public pension fund for workers in banking institutions. During the following year, he failed the admission test for a diplomatic career at the Ministry of Foreign Affairs. Shortly after, he was commissioned to accompany American writer Waldo Frank, a literary acquaintance, on a tour across Northern Brazil. In Moraes's words, it was contact with both Frank and "appalling poverty" that turned him into "a man of the Left". In 1943, Moraes passed the MRE admission test on his second attempt, he was assigned as vice-consul at Los Angeles. He published a book of poems, Cinco elegias, followed by Poemas, sonetos e baladas. After his father died in 1950, he went to Brazil returned to Los Angeles and published two more books: Livro de sonetos and Novos poemas II.
During the 1950s, he worked for the Brazilian consular service in Rome. He visited historian Sergio Buarque de Holanda, teaching in Italy as a visiting scholar. In 1951, Moraes married Lila Maria Esquerdo e Boscoli, he wrote film reviews for Samuel Wainer's Vargoist paper Ultima Hora. He was named a delegate to the Punta del Este film festival and was given a commission to study the management of film festivals at Cannes, Berlin and Venice, in view of the forthcoming São Paulo Cinema Festival, to be a part of the commemoration of the city's 400th anniversary. In 1953, his third child, was born. A fourth child by his second wife was born in 1956, he went to Paris as second secretary at the Brazilian embassy in France. He released his first samba, "Quando tu passas por mim", composed with Antonio Maria. During the next year, he wrote lyrics to chamber music pieces by Claudio Santoro, he b