Luiz Bonf - O Violo e o Samba (1962) [Jazz Latin][flac][h33t][schon55]

Luiz Bonf - O Violo e o Samba

Year: 1962
Quality: flac (single file) with cue
Luiz Floriano Bonf (October 17, 1922 - January 12, 2001) was a Brazilian guitaris
t and composer best known for the compositions he penned for the film Black Orph
eus.
Bonf was born on October 17, 1922 in Rio de Janeiro. He began teaching himself t
o play guitar as a child; he studied in Rio with Uruguayan classical guitarist I
saas Svio from the age of twelve. These weekly lessons entailed a long, harsh com
mute by rail and on foot from his family home in the western rural outskirts of
Rio de Janeiro to the teacher's home in the hills of Santa Teresa. Given Bonf's
extraordinary dedication and talent for the guitar, Svio excused the youngster's
inability to pay for his lessons.
Bonf first gained widespread exposure in Brazil in 1947 when he was featured on R
io's Rdio Nacional, then an important showcase for up-and-coming talent. He was
a member of the vocal group Quitandinha Serenaders in the late 1940s. Some of h
is compositions were recorded and performed by Brazilian crooner Dick Farney in
the 1950s. It was through Farney that Bonf was introduced to Antonio Carlos Jobi
m and Vinicius de Moraes, the leading songwriting team behind the worldwide expl
osion of Brazilian jazz/pop music in the late 1950s and 1960s. Bonf collaborated
with these and with other prominent Brazilian musicians and artists in producti
ons of de Moraes' anthological play Orfeu da Conceio, which several years later ga
ve origin to Marcel Camus' legendary film "Black Orpheus" (Orfeu Negro in Portug
uese). In the burgeoning days of Rio de Janeiro's thriving jazz scene, it was c
ommonplace for musicians, artists, and dramatists to collaborate in such theatri
cal presentations. Bonf wrote some of the original music featured in the film, i
ncluding the numbers "Samba de Orfeu" and his most famous composition, "Manh de C
arnaval" (translated to English as "A Day in the Life of a Fool"), which has bee
n among the top ten standards played worldwide, according to The Guinness Book o
f World Records.
As a composer and performer, Bonf was at heart an exponent of the bold, lyrical,
lushly orchestrated, and emotionally charged samba-cano style that predated the ar
rival of Joo Gilberto's more refined and subdued bossa nova style. Jobim, Joo Don
ato, Dorival Caymmi, and other contemporaries were also essentially samba-cano mus
icians until the sudden, massive popularity of the young Gilberto's unique style
of guitar playing and expressively muted vocals transformed the music of the da
y into the music of the future. Camus' film and Gilberto's and Jobim's collabor
ations with American jazzmen such as Stan Getz and Charlie Byrd did much to brin
g Brazilian popular music to the attention of the world, and Bonf became a highly
visible ambassador of Brazilian music in the United States beginning with the f
amous November 1962 Bossa Nova concert at New York's Carnegie Hall.
Bonf lived in the USA from the early 1960s until 1975. He worked with American m
usicians such as Quincy Jones, George Benson, Stan Getz, and Frank Sinatra, reco
rding several albums while in United States. Elvis Presley sang a Bonf compositi
on, "Almost in Love", in the 1968 MGM film "Live a Little, Love a Little". Bonf
remained well-connected in the US after returning to Brazil, but his profile rec
eded into relative obscurity during his final decades. His last album, 1997's "
Almost in Love", was a collaboration with Brazilian singer Ithamara Koorax.
Bonf died in Rio de Janeiro on January 12, 2001 from prostate cancer complicated
by ischemia. He was 78 years old.
In 2005, Smithsonian Folkways Recordings released an album of Bonf's work, entitl

ed, "Solo in Rio 1959", which included previously unreleased material from the o
riginal recording session.
In 2008, Universal Music France released a coffee table book containing two CDs
which included previously unreleased material of "Black Orpheus" soundtrack, and
a DVD. Also in 2008, Universal Music released "The Brazilian Scene" , "Brazili
ana" and "Black Orpheus" celebrating the 50th anniversary of the bossa nova.
Bonf's major legacy continues to be his compositions from the "Black Orpheus" sou
ndtrack, most notably the instantly recognizable bossa nova classic "Manh de Carn
aval. " But Bonf's huge discography also attests to his uniquely inventive master
y of Brazilian jazz guitar. Bonf's guitar style was brassier and more penetratin
g than that of his major contemporary, Joo Gilberto, and Bonf was a frequent and a
dept soloist whereas Gilberto plays his own suave, intricate brand of rhythm gui
tar almost exclusively. Bonf often played solo guitar in a polyphonic style, har
monizing melody lines in a manner similar to that made famous by Wes Montgomery
in the USA, or playing lead and rhythm parts simultaneously. As a composer and
as a guitarist, Bonf played a pivotal role in bridging the incumbent samba-cano sty
le with the innovations of the bossa nova movement. ~ wikipedia
Luiz Bonf - O Violo e o Samba Tracklisting:
01 Inquietao (2:27)
02 Nossos Momentos (2:35)
03 Meu Nome Ningum (1:45)
04 Lamento No Morro (2:10)
05 Pastorinhas (2:40)
06 Voce Chegou Sorrindo (2:26)
07 Murmrio (2:31)
08 Liberdade Demais (1:56)
09 Amor Em Brasilia (2:19)
10 Saudade Da Bahia (Longing For Bahia) (2:30)
11 Copacabana (2:03)
12 Amor De Solido (2:43)
amazing Japanese fan's link featuring Bonf's prodigious recorded output can be fo
und here:
http://www. kanji. zinbun. kyoto-u. ac. jp/~yasuoka/Bonfa/