In the late 1960s,
Latin jazz, combining rhythms from African and Latin American countries, often played on instruments such as
conga,
timbale,
güiro, and
claves, with jazz and classical harmonies played on typical jazz instruments (piano, double bass, etc.) broke through. There are two main varieties:
Afro-Cuban jazz was played in the US right after the bebop period, while
Brazilian jazz became more popular in the 1960s. Afro-Cuban jazz began as a movement in the mid-1950s as bebop musicians such as
Dizzy Gillespie and
Billy Taylor started Afro-Cuban bands influenced by such Cuban and Puerto Rican musicians as
Xavier Cugat,
Tito Puente, and
Arturo Sandoval.
Brazilian jazz such as
bossa nova is derived from
samba, with influences from jazz and other 20th-century classical and popular music styles. Bossa is generally moderately paced, with melodies sung in Portuguese or English. The style was pioneered by Brazilians
João Gilberto and
Antônio Carlos Jobim. The related term jazz-samba describes an adaptation of bossa nova compositions to the jazz idiom by American performers such as
Stan Getz and
Charlie Byrd.
Bossa nova was made popular by
Elizete Cardoso's recording of Chega de Saudade on the Canção do Amor DemaisLP, composed by Vinícius de Moraes (lyrics) and Antonio Carlos Jobim (music). The initial releases by Gilberto and the 1959 film Black Orpheus brought significant popularity in
Brazil and elsewhere in
Latin America, which spread to North America via visiting American jazz musicians. The resulting recordings by Charlie Byrd and Stan Getz cemented its popularity and led to a worldwide boom with 1963's Getz/Gilberto, numerous recordings by famous jazz performers such as
Ella Fitzgerald (Ella Abraça Jobim) and
Frank Sinatra (Francis Albert Sinatra & Antônio Carlos Jobim), and the entrenchment of the bossa nova style as a lasting influence in world music for several decades and even up to the present.
1965 – "
The Gift!" (a.k.a. "Recado Bossa Nova").[5][54] Composed by Djalma Ferreira, with lyrics by Luiz Antônio (Portuguese)
Paul Francis Webster (English).
^Shepherd, John (2003). Continuum Encyclopedia of Popular Music of the World: Performance and Production. Vol. 2. Continuum International Publishing Group. p. 175.
ISBN0-8264-6322-3.