WINNER OF...1995 JazzTimes Reader Poll- Best Video- First Runner Up
Direct from Brazil in his last recorded performance, Antoine Carlos Jobim (1927-1994) is joined by an international delegation of jazz giants to recreate his classic melodies in a beautiful, concert-length “Thank You.†With over four hundred songs to his credit including the unforgettable Girl From Ipanema, Jobim virtually single handedly brought the world Bossa Nova by adapting the percussive excitement of the samba to the intimacy of the guitar while echoing the melodies and harmonies of Cool Jazz. This classic, concert-length "Thank You" includes: Girl From Ipanema, Once I Loved, O Grande Amor, No More Blues, Wave and more
Customer Review: Farewell To A Legend
"Tom" Jobim died only a few months after this concert, so it was one of his last performances. He was truly a legend and if you love music you really need to acquaint yourself with his. Beautifully complex rhythms and harmonies that do not wear thin with repeated listening--the hallmark of great music. Even without understanding the lyrics his music evokes combinations of deep emotions, including a sad/sweet longing that has no English translation from the Portuguese. I'll not mention all of the artists that appear in this concert, but only draw your attention to Gal Costa, who has become one of my favorite Brazilian singers. Check out her earlier CDs. You will not be disappointed!
Customer Review: Impressive
Before watching this DVD I had never heard of Gal Costa. What a pleasant surprise to see her perform. Antonio himself appears in this one for Luiza and Wave: very nice. I couldn't appreciate John Henricks performance, too much scatting and not very good. That's just my opinion. Gonzalo Rubalcaba didn't impress me either. For me, the real standout performance was by Gal Costa. She does very cool A Felicidade with Herbie; and then an amazing So Todos Fossem Iguais a Voce. Also, Herbie is an amazing keyboard player. It is as though the instrument is part of him. Buy it!
According to the normal public as well as those who are financially sound, the definition of rap instrumental is something that dwells unconsciously in everybody's mind and has a somewhat literary effect though doubting on its originality. As an accepted fact, though it is one of the fastest spreading music's in today's world, doubt still reigns on its artistic effect.
This sort of music can be produced with or without a beat in any rhythm, provided it produces acceptable results. It's a fashionable or stylish music, so as to say, and its field is doubtfully divided among lyrics, song, prose and poetry. Rap instrumental music is said to have originated from West Africa and Jamaica and its is also known to be the originator of Celtic music.
Traditionally, there used to be rap battles, where Gaelic people got drunk and started to compete for the most insulting, humorous five-line poems having rhyme schemes, otherwise knowns as limericks, and the one who loses would have to buy the next round of drinks. A Scottish form of rap instrumental, "puirt a beul", was the predecessor of mouth organs. Rap instrumental was not influenced directly by the Scottish and the Irish because all its originators were African American.
And its believed that, in true form, rap instrumental has originated from America. A number of American instrumentals like jazz, rock, funk, etc were said to have originated from a mixture of the Celtic and African music, with a touch of Gaelic melodies. Rap instrumental come under the same category, so as to say. It gives stress on mouth music, vocal improvement and rhythm.
Rap instrumental had a great hand in the improvisation of the hip-hop culture. Initially, it began to be played in the street parties thrown in some particular area in New York in the 1970s by the Jamaicans and the sorts. These sort of parties laid the stepping stones for variety and paved way for authentic enjoyment. These parties organized a "dance hall", something sort of a disco and had a "Master of Ceremonies" who would go up on stage and hail encouragements in beat with the DJ to redeem and excite the excite the crowd for more fanfare and enjoyment. With the passage of time, these kind of encouragements started lengthening and became more and more complicated in the form of poetry formed vocally and finally this type of music came to be known as rap instrumental.
Right from day one, rap instrumental is known to be accepting music from different states and religions without bar.
One thing that is very different about rap instrumental is that, its never sung, its always chanted or spoken with rhythm and music, making it seem like a song. No original music, no musicians, no instruments are required to create music for rap. All it needs is bits and pieces of already existing music and sounds here and there joined together to create a melody. The lyrics in rap is always simple to understand, energetic, repetitive and usually apt in making loud and harsh noise. And these lyrics praise the existence and art of rap instrumental.
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