{"id":12381,"date":"2024-03-01T15:32:31","date_gmt":"2024-03-01T15:32:31","guid":{"rendered":"http:\/\/www.sebpalmer.com\/blog\/?p=12381"},"modified":"2024-03-01T22:14:28","modified_gmt":"2024-03-01T22:14:28","slug":"music-musicas-de-orfeu-da-conceicao","status":"publish","type":"post","link":"http:\/\/www.sebpalmer.com\/blog\/?p=12381","title":{"rendered":"MUSiC: M\u00fasicas de Orfeu da Conceic\u00e3o, Jobim, etc."},"content":{"rendered":"\n
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Oh yes! In my longstanding love affair with Brazilian music, finding and acquiring this rates quite highly.<\/p>\n\n\n\n

I\u2019ve known and loved the work of Antonio Carlos Jobim for decades now. And I\u2019ve long known, as any ardent admirer of such things ought to, that Vinicius de Moraes was a crucial \u2018elder statesman\u2019 figure – both literally and metaphorically – in relation to many prominent folk in Brazilian music, \u2018Tom\u2019 Jobim among them.<\/p>\n\n\n\n

Anyway, it\u2019s taken until now – kind of (more on this later) – to really discover this old and early gem from their collaborations. Orpheus of the Conception<\/em> is a play by de Moraes, for which he got Jobim to do the music, this recording being waxed in \u201856.<\/p>\n\n\n\n

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A very short little album!<\/figcaption><\/figure>\n\n\n\n

And so it is that I\u2019m learning that certain Jobim tunes go back further than I\u2019d formerly realised. For example, \u2018Lamento No Morro\u2019, which I first encountered as the instrumental \u2018Lamento\u2019, and which also features prominently in the beautiful \u2018Overture\u2019, here.<\/p>\n\n\n\n

So too with \u2018Se Todos Fossem Iguais A Voc\u00ea\u2019, or literally, \u2018If Everyone Were Like You\u2019, which is generally better known to English speakers as \u2018Someone To Light Up My Life\u2019. I thought this was a later composition. Not so!<\/p>\n\n\n\n

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Luiz Bonfa and Roberto Paiva.<\/figcaption><\/figure>\n\n\n\n

This recording features Jobim as musical director – literally credited here as \u2018maestro\u2019! – of the 35 piece Odeon record label orchestra. And it\u2019s a 50th anniversary release, from 2006, on the same Odeon label. So this 50th celebration is now itself 18 years of age\u2026 old enough to drink\/vote, etc.<\/p>\n\n\n\n

The vocals, which later in his career would prob\u2019 be sung by Jobim, or even de Moraes (who often sang with singer\/guitarist Toquinho), are handled here – when it\u2019s not \u2018chorus\u2019 style vocals – by one Roberto Paiva. A new name to me.<\/p>\n\n\n\n

Pavia died aged 93, in 2014. So, unlike de Moraes (d. 1980, at 66), Jobim (d. \u201894, aged 67), or Bonfa (d. 2001, 78), he was still around when this recording turned 50!<\/p>\n\n\n\n

My only quibble with this disc – the reason it\u2019s four stars, not five – is how short it is. The seven tracks total approx 17:30, the whole clocking in at under twenty minutes! This same music has been repackaged, along with lots of other stuff, on releases such as this:<\/p>\n\n\n\n

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Er\u2026 do I already have this?<\/figcaption><\/figure>\n\n\n\n

I\u2019m a bit worried I might just\u2019ve bought a CD duplicating just a small portion<\/em> of another CD (or set of) that I might already own\u2026 I need to check the CD shelves.<\/p>\n\n\n\n

Anyway, whilst it\u2019s very different in many ways from what Jobim would go on to do in his own right – when he was established enough to do things his own way – it\u2019s great to hear his ideas in a different setting, and the seeds of his style. <\/p>\n","protected":false},"excerpt":{"rendered":"

Oh yes! In my longstanding love affair with Brazilian music, finding and acquiring this rates quite highly. I\u2019ve known and loved the work of Antonio Carlos Jobim for decades now. And I\u2019ve long known, as any ardent admirer of such things ought to, that Vinicius de Moraes was a crucial \u2018elder statesman\u2019 figure – both … <\/p>\n

Continue reading “MUSiC: M\u00fasicas de Orfeu da Conceic\u00e3o, Jobim, etc.”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","footnotes":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[1],"tags":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/paGwUa-3dH","_links":{"self":[{"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=\/wp\/v2\/posts\/12381"}],"collection":[{"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=12381"}],"version-history":[{"count":9,"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=\/wp\/v2\/posts\/12381\/revisions"}],"predecessor-version":[{"id":12409,"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=\/wp\/v2\/posts\/12381\/revisions\/12409"}],"wp:attachment":[{"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12381"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=12381"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=12381"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}