Bossa nova


Bossa nova is a relaxed style of samba developed in the late 1950s and early 1960s in Rio de Janeiro, Brazil. It is mainly characterized by a calm syncopated rhythm with chords and fingerstyle mimicking the beat of a samba groove, as if it was a simplification and stylization on the guitar of the rhythm produced by a samba school band. Another defining characteristic of the style is the use of unconventional chords in some cases with complex progressions and "ambiguous" harmonies. A common misconception is that these complex chords and harmonies were derived from jazz, but samba guitar players have been using similar arrangement structures since the early 1920s, indicating a case of parallel evolution of styles rather than a simple transference from jazz to bossa nova. Nevertheless, bossa nova was influenced by jazz, both in the harmonies used and also by the instrumentation of songs, and today many bossa nova songs are considered jazz standards. The popularity of bossa nova has helped to renew samba and contributed to the modernization of Brazilian music in general.
One of the major innovations of bossa nova was the way to synthesize the rhythm of samba on the classical guitar. According to musicologist Gilberto Mendes, the bossa nova was one of the "three rhythmic phases of samba", in which the "bossa beat" had been extracted by João Gilberto from the traditional samba. The synthesis performed by Gilberto's guitar was a reduction of the "batucada" of samba, a stylization produced from one of the percussion instruments: the thumb stylized a surdo; the index, middle and ring fingers phrased like a tamborim. In line with this thesis, musicians such as Baden Powell, Roberto Menescal, and Ronaldo Bôscoli also understand the bossa nova beat as being extracted from the tamborim play in the bateria.

Etymology

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 phrase bossa nova, translated literally, means "new trend" or "new wave" in Portuguese. 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 already 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 young journalist Moyses Fuks, who was promoting the event. That group consisted of Sylvia Telles, Carlos Lyra, Nara Leão, Luiz Eça, Roberto Menescal, and others. Mr Fuks's description, fully supported by most of the bossa nova members, simply 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 also 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 ultimately married.

History

The nightclubs of , a small dead-end alley in Copacabana, is considered a historical cradle of bossa nova.
In 1959, the soundtrack to the film Black Orpheus was released, which included the future Manhã de Carnaval, "The Morning of the Carnival". The style emerged at the time when samba-canção was the dominant rhythm in the Brazilian music scene. Its first appearance was on the album Canção do Amor Demais, in which the singer Elizeth Cardoso recorded two compositions by the duo Antônio Carlos Jobim and Vinicius de Moraes, "Outra Vez" and "Chega de Saudade", which were accompanied by João Gilberto's guitar. It was the first time that the Bahian musician presented the beat of his guitar that would become characteristic of the style. By accompanying Cardoso's voice, Gilberto innovated in the way of pacing the rhythm, accentuating the weak times, to carry out a synthesis of the beat of samba to guitar.
In 1959, João Gilberto's bossa album was released, containing the tracks "Chega de Saudade", "Bim Bom" and "Desafinado" which entered the jazz repertory. Considered the landmark of the birth of bossa nova, it also featured Gilberto's innovative way of singing samba, which was inspired by Dorival Caymmi. With the LP Chega de Saudade, released in 1959, Gilberto consolidated the bossa nova as a new style of playing samba. His innovative way of playing and singing samba, combined with the harmonies of Antônio Carlos Jobim and the lyrics of Vinicius de Moraes, found immediate resonance among musicians who were looking for new approaches to samba in Rio de Janeiro, many of whom were influenced by American jazz.
On 21 November 1962, the Consulate-General of Brazil presented Bossa Nova at Carnegie Hall.
In 1964, João Gilberto, Stan Getz and Jobim released the Getz/Gilberto winner Grammy Awards album. Then, it emerged an artistic movement around Gilberto and other professional artists such as Jobim, Moraes and Baden Powell, among others, which attracted young amateur musicians from the South Zone of Rio – such as Marcos Valle, Carlos Lyra, Roberto Menescal, Ronaldo Bôscoli and Nara Leão and Bahian Astrud Gilberto.
Jorge Ben wrote "Mas que Nada" in 1963, and Sérgio Mendes & Brazil 66 gained a bossa rock hit "Mas que Nada" in 1966. It was inducted into the Latin Grammy Hall of Fame, and following the success of Waters of March in the 1970s, the song was adapted for use in a series of advertisements for Coca-Cola in the 1980s. These ended with the then current slogan "Coke Is It".
Frank Sinatra and Antônio Carlos Jobim recorded Sinatra & Company in 1967. The tracks were arranged and conducted by Claus Ogerman, accompanied by a studio orchestra. Along with Jobim's original compositions. In the 1960s and 1970s, US jazz artists such as Stan Getz, Hank Mobley, Dave Brubeck, Zoot Sims, Paul Winter, and Quincy Jones recorded bossa jazz albums.
Bossa nova continues to influence popular music around the world, from the 1960s to today. An example is the song "Break on Through " by American rock band The Doors, especially the drum beat. Drummer John Densmore has stated that he was very influenced by the sounds of Brazil when coming up with the drum part for the song. In the mid-1980s, New Bossa emerged in Europe, in the work of Nigerian singer Sade Adu and in groups such as Matt Bianco and Style Council. In 21st century, the song "Billie Bossa Nova" was released by Billie Eilish in 2021, the Icelandic jazz pop singer Laufey released her hit song "From the Start" in 2023, with its bossa nova–infused rhythm, and success BMF by SZA mixing with pop in 2025.

Instruments

Classical guitar

Bossa nova is most commonly 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, pioneered, and exemplified by João Gilberto. Even in larger, jazz-influenced ensemble arrangements, a guitar is typically present to provide the foundational rhythm. Gilberto basically took one of the several rhythmic layers from a samba ensemble, specifically the tamborim, and applied it to the picking hand. According to Brazilian musician Paulo Bittencourt, João Gilberto, known for his eccentricity and obsessed by the idea of finding a new way of playing the guitar, sometimes locked himself in the bathroom, where he played one and the same chord for many hours in a row.

Drums and percussion

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 very 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. Also important in the percussion section for bossa nova is the cabasa, which plays a steady sixteenth-note pattern. These parts are easily adaptable to the drum set, which makes bossa nova a rather popular Brazilian style for drummers.

Structure

Certain other instrumentations and vocals are also part of the structure of bossa nova. These include:

Bossa nova and samba

Bossa nova has at its core a rhythm based on samba. Samba combines the rhythmic patterns and feel originating in afro-Brazilian slave communities. Samba's emphasis on the second beat carries through to bossa nova. However, unlike samba, bossa nova has no 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 usually contain a syncopation into the second measure. Syncopation is a common feature of bossa nova, giving it its distinct "swaying" motion. While jazz music, which is typically swung, also contains syncopation, bossa nova is typically played without swing, contrasting with 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". There's also some evidence indicating a musical influence of blues in bossa nova, even thought this effect is not immediately recognized in the genre structure.