Luiz Bonfá

And we're going to be together again at the centennial Jobim Festival.

And, uh, he dedicated, uh, Luiz Bonfá, Domingo a Noite.

This featuring, uh, Lalo Schifrin and Oscar Castro-Neves, and Maria Helena Toledo also, on this album, Verve Records, uh, 1962, and was produced by, uh, Creed Taylor.

Um Dia Mais Claro, this is a brand-new release, uh, by, uh, Solly.

Oh, my angel.

The amazing Luiz Bonfá on guitar, recorded in 1959 in Brazil.

Pernambuco is the name of that composition, and before Luiz Bonfá, we heard Bertha Tillman, Oh My Angel, a song I can't hear enough.

I can't listen to that song enough.

I've heard it ever since I was a kid, and I want to hear it again.

This week, you get a twofer.

So, the episode title Saudade is inspired by the Stan Getz and Luiz Bonfa's song, Saudade Vem Correndo, but that is sampled by The Pharcyde in their song, Runnin'.

You see what I did there? Runnin'.

It's a running podcast.

At first, it's a bit disappointing, but when you stop and think about how overdone many of those standards are, it's refreshing that he reached further into that vast mountain of great music from the country of Brazil.

And that does not mean he ignored the master songwriters of Brazil, including Luis Bonfá, Elaine Ellis, and Gilberto Gil.

He also recorded some major American talent for the album, including Dave Grusin on piano and Lee Rittenhour on guitars.

Luis Bonfa surprises his guitar intro as Toots takes the melody that opens the song, Mania de Carnival, or Morning of the Carnival, from the movie Black Orpheus.

On va passer à la prochaine pièce.

Évidemment, une pièce qui a été écrite par le compositeur brésilien Luis Bonfá, qui s'appelle Manhã de Carnaval, Matin de Carnaval.

[musique de jazz]Alors on revient à Marc-Antoine, euh, après cette magnifique interprétation, euh, de Matin de carnaval en français.

J'aime bien le dire en français, ça, ça me fait un petit velours.