Antonio Carlos Jobim Albums (37)
What The Critics Say
Although released under Antonio Carlos Jobim's name, Tom Pra Dois (which is Portuguese for Tom for Two) is really a various-artists compilation; Jobim himself appears on some selections that were recorded in the 1960s, 1970s, and 1980s, although other selections were recorded after his death (Jobim died of heart failure in 1994 at the age of 67). But all of the songs were written or co-written by Jobim, and everything on this 46-minute CD illustrates, in some fashion, the importance of his contributions to Brazilian music. Jobim's influence is all over Tom Pra Dois regardless of whether something was recorded during his lifetime or whether it was recorded posthumously. Jobim teams up with Elis Regina on "Fotografia," with Astrud Gilberto and Marty Paich on "Água de Beber," and with Chico Buarque on "Anos Dourados," but singer Ithamara Koorax's memorable performance of the well-known Jobim standard "Corcovado" was recorded after his demise. Koorax, in fact, was two years away from being born when Astrud Gilberto, João Gilberto, and Stan Getz joined forces for their hit 1963 version of "The Girl from Ipanema," which features Jobim on acoustic piano and is easily the most famous recording on this album. "The Girl from Ipanema" has been recorded by numerous artists over the years, but the version that is offered on Tom Pra Dois is by far the most celebrated. Of course, the Jobim songbook in general continues to be celebrated; he was one of the most iconic figures in the history of Brazilian jazz, Brazilian pop, and bossa nova, and his songs are still being recorded frequently long after his death. Jobim's admirers will find a lot to savor on Tom Pra Dois. ~ Alex Henderson, All Music Guide
'Antonio Carlos Jobim and Luiz Floriano Bonfá'
Release Date 2/20/2007
Tracks 27
Label El
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What The Critics Say
While this contains a wealth of music in which major bossa nova innovators Antonio Carlos Jobim and Luiz Bonfá were involved in the mid-'50s, the packaging doesn't make it too easy to figure out exactly what their involvement was in all of these recordings. Running a generous 71 minutes, the 27 tracks -- all but one cut in 1955 and 1956 (the sole exception being a piece that Bonfá did as part of the Quitandinha Serenaders in 1948) -- were all written by Jobim and Bonfá, either on their own, together, or in collaboration with other composers. What the annotation doesn't specify is on which recordings Jobim and Bonfá actually appear, either together or singly. One would guess that they don't appear on every one, particularly as the billed performers on the tracks are not always Bonfá and/or Jobim, but also singers such as Dora Lopez, Dolores Duran, Sylvia Telles, Gilda de Barros, Dick Farney, and Roberto Paiva. It's really a various-artists compilation of mid-'50s material with strong ties to Bonfá and Jobim (particularly as composers), and not an actual Bonfá/Jobim record. All that noted, if you can accept the slim premise of the collection, it's a pretty good survey of Brazilian pop as the bossa nova style was just forming. Much of the material's quite lovely, in fact, although little of it is pure bossa nova, as the genre had yet to solidify. But there are plenty of beguiling tunes (both instrumental and vocal) where you can hear the mixture of languid sensuality, fluid guitar work, Brazilian melodies, jazz, samba, and pop starting to coagulate into something that would soon be recognizable as bossa nova. It might be a little more uneven in tone and sound quality than most compilations (though the fidelity is fairly good for the most part), but the range is admirable, from Hollywood-like ballads with strings to ones that put virtuosic guitar work or accordions at the forefront. Almost always, there's a sense of swinging, breezy romanticism. Note, however, that the tracks (recorded in 1956) from Orfeu da Conceicao (aka Orfus of the Carnival) included here are from the score of the play of that title -- not the score of the movie of that title, which was entirely different (and which means this CD does not include the classic song from that film score, "Manha de Carnaval"). ~ Richie Unterberger, All Music Guide
'Em Minas ao Vivo: Piano e Voz'
Release Date 7/10/2006
Tracks 18
Label Disc Medi
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What The Critics Say
Brazil's greatest songwriter, Antonio Carlos Jobim, admittedly preferred working in the shadows of the recording studio to the openness of the concert stage, and although, during the earlier part of his career he dutifully stepped out to perform his compositions, by the late 1960s and '70s he had become a more reclusive figure. The 1980 death of his chief inspiration and arguably most successful collaborator, Vinicius de Moraes (with whom Jobim wrote "The Girl from Ipanema," among many others), hit Jobim hard and brought him back to his adoring public to share his music more visibly. This CD is the naked Jobim, the man and his piano, performing solo for the first time in 20 years, recounting 18 of his greatest achievements in Minas, Brazil, in March 1981. Although he professes shyness (fortunately, the liner notes translate part of Jobim's all-Portuguese stage patter, included on the disc in its unedited form, for better or worse), Jobim on-stage is confident and homey. The warmth of his songs transfers easily to his performing manner, resulting in an intimate evening of classic Brazilian song. Jobim on the piano is never fancy, and as a vocalist he's rough but honest. Besides, for this audience he could do no wrong. Opening with two of his biggest hits, "Desafinado" and "Samba de uma Nota Só" ("One Note Samba"), both co-written with Newton Mendonça, Jobim pays tribute to his most important collaborators one at a time, among them Dolores Duran (who co-wrote the set's lone instrumental "Sun Road"), Aloysio de Oliveira, Chico Buarque and, of course, de Moraes. Jobim also tosses in a handful of pieces written solo. Saving "The Girl from Ipanema" for last, he practically gives it lip service with an under-two-minute perfunctory run-through that he cuts short. Perhaps he was simply tired of the song, but it's still a moving rendition, Jobim's way of leaving his lucky audience with something to remember him by -- as if they'd ever forget this evening. ~ Jeff Tamarkin, All Music Guide
'Novo Millennium'
Release Date 4/25/2005
Tracks 20
Label Universal/Mercury
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'Symphonic Jobim'
Release Date 1/1/2005
Tracks 23
Label Adventure Music
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What The Critics Say
Antonio Carlos Jobim as a symphonic composer? Jobim, arguably the finest songwriter of the 1960s and the founder of bossa nova, was classically trained and wrote some pieces along the way for a string orchestra. In addition to his arrangements, his compositions were arranged for an orchestra by the likes of Claus Ogerman, Nelson Riddle, Eumir Deodato, Dori Caymmi, Paulo Jobim, and Mario Adnet for this project. The double CD does not have much bossa nova and, although some of the melodies are familiar, others are very obscure and in two cases were previously unrecorded. The symphony orchestra is augmented by several guests along the way, most notably a vocal section on some pieces. Milton Nascimento has a pair of guest vocals. The first four numbers are a suite from 1961 called "Brasilia, Sinfonia da Alvorada" and selections six through eight are from 1956 and titled "Orfeu da Conceicao." Fans of the music of Jobim as heard in its usual intimate setting may find this music of lesser interest although listeners coming to the set from the classical field will probably be more intrigued. Overall this live program is a well-meaning and intriguing project, but it falls short of being essential and is rather sleepy in spots. ~ Scott Yanow, All Music Guide
'Miucha & Antonio Carlos Jobim'
Release Date 1/1/2001
Tracks 12
Label RCA
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'Tom Canta Vinicius: Ao Vivo'
Release Date 8/14/2000
Tracks 17
Label Universal
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What The Critics Say
Vinicius de Moraes was the lyricist for many of Antonio Carlos Jobim's most durable melodies, and his death in 1980 understandably dealt the great Brazilian composer a devastating blow. That he greatly missed de Moraes is quite obvious in this lovingly performed, posthumously released concert, recorded (upon the tenth anniversary of de Moraes' death) at Rio's Centro Cultural do Brasil with just a chamber-sized selection of players from Jobim's band of family and friends. A few well-known pieces are included -- there is a very touching rendition of "Insensatez" that makes this often-played tune seem freshly minted -- but most of the selections are among the less familiar fruits of the collaboration, along with a few songs that de Moraes wrote with Carlos Lyra and Toquinho. Some of de Moraes' own music is performed here as well, and selections like the stunning "Serenata do Adeus" prove that he, too, had a haunting way with a melody. Cushioned by the deep, soulful cello of Jaques Morelenbaum and by Danilo Caymmi's flute, with guitarist Paulo Jobim often the sole rhythmic component, Jobim's own rough, vulnerable voice and piano are offset by the clear, cool vocals of Paula Morelenbaum. Between numbers, Jobim offers his own running memoir in Portuguese, yet he could also flash his sense of humor -- following de Moraes' "Canta ao Tom" with a parody co-written with Chico Buarque called "Canta do Tom" or playing a mischievous piano lick at the end of "The Girl From Ipanema." Although released through Universal Latino, the CD is receiving widespread distribution in the U.S. ~ Richard S. Ginell, All Music Guide
What The Critics Say
As a celebration of "Tom" Jobim's 60th birthday in 1987, a Brazilian consort simply called the Organization sponsored an album that anthologized his output as a composer. Jobim made the final choices of 24 tunes, recorded them with his band of family and friends, and the results were released privately in a limited edition. Recorded at around the same time as Passarim, it's possible that Jobim did not want this retrospective to compete with his new material. Not until 1995 did the Brazilian arm of BMG put out a commercial edition of this project in a very handsome two-CD box with a beautifully illustrated 38-page color booklet (alas, the contents could have been easily squeezed onto only one CD). It's far from a casual project, obviously carefully rehearsed and polished; rather it's an intimate one, using a minimum of resources, backed only by Jobim's simply-stated piano on several tracks. There is the expected quota of greatest hits like "Desafinado," "One Note Samba," "Chega de Saudades," and "Wave," yet the bulk of the material is not very familiar, often dispatched in to-the-point slices that sometimes clock in at less than two minutes. Jobim also takes a personal flyer by including his countryman Heitor Villa-Lobos' haunting "Seresta No. 5," with just himself on piano backing Danilo Caymmi's vocal, followed by his own "Modinha." Jaques Morelenbaum provides the occasional string arrangements and cello solos, again keeping things uncluttered and decidedly less ambitious than Claus Ogerman's charts on a previous Jobim retrospective, Terra Brasilis. Sometimes the arrangements are unpredictable; "The Girl From Ipanema" omits the words of the first chorus, picking up the thread on the bridge, and the stunning "Estrada do Sol" shifts gears several times. The feeling of saudade is very much front and center on Jobim's birthday present to himself -- he later said that this was his favorite album -- and all of his connoisseurs should try to hunt it down in the import bins. ~ Richard S. Ginell, All Music Guide
