LOUNGE /
MUSIC
November 28, 2019
In Conversation: João Gilberto – The Legacy of a True Sambista
Unpacking João Gilberto: A Conversation
João Gilberto passed away on July 6, 2019. A tribute concert is being held to commemorate his achievements. Before the concert, we have arranged an opportunity to look back at the legacy left by the great musician João Gilberto. Joining us for this conversation are Shigeki Miyata, who produced João Gilberto's concerts in Japan, and Kazufumi Miyazawa, a musician who will be performing in this concert.
Interview by Yoshitsugu Nagasaki | Photography & Text by Yusuke Morooka
Meeting João Gilberto
Mr. Miyata, how did your relationship with João begin?
Miyata:
While it feels long, we've known each other for 18 years. It started in '97 when I licensed his work from Universal and corresponded with him to get his approval for the remastered sound. However, our substantial interaction began in 2001. Toyama-san from Promax and I decided to invite him to Japan, and that led to negotiations for his visit, which I believe was the catalyst.
While it feels long, we've known each other for 18 years. It started in '97 when I licensed his work from Universal and corresponded with him to get his approval for the remastered sound. However, our substantial interaction began in 2001. Toyama-san from Promax and I decided to invite him to Japan, and that led to negotiations for his visit, which I believe was the catalyst.
I was truly amazed at how he could sustain such a long performance with just his guitar and voice at the 2006 International Forum concert.
Miyata:
Indeed. I would have thought a venue like Bunkamura would have been sufficient. For Promax to arrange for him to perform alone in front of 5,000 people at the Tokyo International Forum was a bold decision.
Indeed. I would have thought a venue like Bunkamura would have been sufficient. For Promax to arrange for him to perform alone in front of 5,000 people at the Tokyo International Forum was a bold decision.
Did you see it, Mr. Miyazawa?
Miyazawa:
Yes. It was a monumental event. I've never met him in person, so I thought it was a once-in-a-lifetime opportunity.
I went.
Actually, my introduction to Brazilian music was through a program called "Crossover Eleven" on NHK FM radio, which played AOR-leaning music. When I was a student, I used to fall asleep listening to the music from the show. That's when I started listening to Brazilian music and fusion. Although it wasn't the kind of music I would create myself, I found it very cool.
Yes. It was a monumental event. I've never met him in person, so I thought it was a once-in-a-lifetime opportunity.
I went.
Actually, my introduction to Brazilian music was through a program called "Crossover Eleven" on NHK FM radio, which played AOR-leaning music. When I was a student, I used to fall asleep listening to the music from the show. That's when I started listening to Brazilian music and fusion. Although it wasn't the kind of music I would create myself, I found it very cool.
After becoming a professional, I began listening to Jobim's music frequently. There were several reasons for this: I was deeply moved by the album "Getz/Gilberto," and I received advice from my senior, Akiko Yano, to "study Brazilian music." From then on, I started paying more attention to João Gilberto and delved deeper into his work.
The Music of João Gilberto
What was the appeal of the music João created?
Miyazawa:
I'm drawn to music born from the crossroads of humanity. Music that arises from people interacting for reasons that aren't necessarily positive, a music of inevitability. Music born from a place where lament, nostalgia, and hope swirl together, not necessarily a happy ending, but one that has become so. The music born from human nature, karma, and the whims of money and history is deeply rooted, and conversely, it is energetic and radiant. I believe João Gilberto's music is like that.
I'm drawn to music born from the crossroads of humanity. Music that arises from people interacting for reasons that aren't necessarily positive, a music of inevitability. Music born from a place where lament, nostalgia, and hope swirl together, not necessarily a happy ending, but one that has become so. The music born from human nature, karma, and the whims of money and history is deeply rooted, and conversely, it is energetic and radiant. I believe João Gilberto's music is like that.
Miyata:
As Mr. Miyazawa says, interesting music is born where various elements collide. Jazz, samba, tango – they are all like that. In any case, people from West Africa were brought to South America as labor. While they longed for their homeland across the Atlantic, they couldn't forget their rhythms. Samba was born from the fusion with music brought by Arab and Portuguese immigrants. It might be an exaggeration, but perhaps João reconstructed that in his own unique way? I think João's manner and approach to that reconstruction were wonderful.
As Mr. Miyazawa says, interesting music is born where various elements collide. Jazz, samba, tango – they are all like that. In any case, people from West Africa were brought to South America as labor. While they longed for their homeland across the Atlantic, they couldn't forget their rhythms. Samba was born from the fusion with music brought by Arab and Portuguese immigrants. It might be an exaggeration, but perhaps João reconstructed that in his own unique way? I think João's manner and approach to that reconstruction were wonderful.
Can we say that João created a certain origin of Bossa Nova?
Miyazawa:
I see Bossa Nova as the name of a movement. What he was doing was samba. It's his answer to what samba becomes when performed by one person. Musicians like Roberto Menescal and Nara Leão in Rio embraced that music and started performing it. Before that, it was the era of Samba-canção (traditional Brazilian popular music). I think it's easier to understand Bossa Nova as the primal form of music that the youth of that time recognized as new and something they could do themselves.
I see Bossa Nova as the name of a movement. What he was doing was samba. It's his answer to what samba becomes when performed by one person. Musicians like Roberto Menescal and Nara Leão in Rio embraced that music and started performing it. Before that, it was the era of Samba-canção (traditional Brazilian popular music). I think it's easier to understand Bossa Nova as the primal form of music that the youth of that time recognized as new and something they could do themselves.
João Gilberto's Stage
Miyazawa:
I had the experience of seeing him perform in São Paulo before his Japan tour. I was in Brazil for live performances at the time, and I heard that João was performing at the same venue a few days later, so I went. That concert was truly magnificent. When the energy built up, the audience would start singing so loudly that his voice was barely audible. It was a collective sing-along.
But during the Japan concert, the venue fell silent as if water had been poured on it. This is my personal theory, but I believe the 2006 International Forum concert might have been the best concert of João Gilberto's life. The microphones were excellent, and the care provided was top-notch. In such a comfortable environment for singing, everyone listened intently to his guitar and voice. I believe this environment was the most satisfying concert experience of João's life.
The incident of silence lasting for tens of minutes, I believe, was because he was savoring a profound feeling. Perhaps he felt he had reached the pinnacle of his stage career.
I had the experience of seeing him perform in São Paulo before his Japan tour. I was in Brazil for live performances at the time, and I heard that João was performing at the same venue a few days later, so I went. That concert was truly magnificent. When the energy built up, the audience would start singing so loudly that his voice was barely audible. It was a collective sing-along.
But during the Japan concert, the venue fell silent as if water had been poured on it. This is my personal theory, but I believe the 2006 International Forum concert might have been the best concert of João Gilberto's life. The microphones were excellent, and the care provided was top-notch. In such a comfortable environment for singing, everyone listened intently to his guitar and voice. I believe this environment was the most satisfying concert experience of João's life.
The incident of silence lasting for tens of minutes, I believe, was because he was savoring a profound feeling. Perhaps he felt he had reached the pinnacle of his stage career.
Miyata:
I agree. After the first night in Tokyo, João said, "This is the kind of audience I've been looking for." Looking back, since there was no direct interaction with the audience during the concert, what he truly wanted was perhaps the "silence." The silence created by 5,000 people has a unique weight. I believe he received that and it ignited something within him, leading to that performance. Considering that, it can truly be called a great concert for him.
I agree. After the first night in Tokyo, João said, "This is the kind of audience I've been looking for." Looking back, since there was no direct interaction with the audience during the concert, what he truly wanted was perhaps the "silence." The silence created by 5,000 people has a unique weight. I believe he received that and it ignited something within him, leading to that performance. Considering that, it can truly be called a great concert for him.
A Tribute Concert to Remember João Gilberto
Mr. Miyazawa, have you decided on the style of your performance for the upcoming concert?
Miyazawa:
Yes, I have. Since many of the collaborating artists will be performing solo with guitar, I intend to perform with a band. João's appeal isn't limited to solo performances, so I'd like to try and recreate that aspect.
Yes, I have. Since many of the collaborating artists will be performing solo with guitar, I intend to perform with a band. João's appeal isn't limited to solo performances, so I'd like to try and recreate that aspect.
Now that you mention it, the image of him performing solo is quite strong.
Miyata:
He has only performed solo in recent concerts. When I heard about the tribute concert, I wondered what it would entail. He doesn't have many signature songs, and he composed only about four or five. I once attended a tribute concert for Tom Jobim, where various artists performed his songs, creating a lively atmosphere because he was a composer. I wondered how a tribute concert for João Gilberto would be structured. By the way, Mr. Miyazawa, which songs do you plan to perform?
He has only performed solo in recent concerts. When I heard about the tribute concert, I wondered what it would entail. He doesn't have many signature songs, and he composed only about four or five. I once attended a tribute concert for Tom Jobim, where various artists performed his songs, creating a lively atmosphere because he was a composer. I wondered how a tribute concert for João Gilberto would be structured. By the way, Mr. Miyazawa, which songs do you plan to perform?
Miyazawa:
I haven't decided on the exact songs yet, but they will be in a style that evokes João. With the performers and everyone gathered here, who love João's music, it's been a long time since his Japan tour. In a sense, I see it as a reunion. We hope this occasion will be an opportunity for us and the audience to reflect on João Gilberto's legacy. We also aim to create a concert that will make not only João's fans but also those hearing him for the first time fall in love with João and Brazilian music.
I haven't decided on the exact songs yet, but they will be in a style that evokes João. With the performers and everyone gathered here, who love João's music, it's been a long time since his Japan tour. In a sense, I see it as a reunion. We hope this occasion will be an opportunity for us and the audience to reflect on João Gilberto's legacy. We also aim to create a concert that will make not only João's fans but also those hearing him for the first time fall in love with João and Brazilian music.
Kazufumi Miyazawa
Born in Kofu City, Yamanashi Prefecture in 1966. Debuted as the vocalist of THE BOOM in 1989. THE BOOM has released 14 albums, and he has released 4 solo albums and 2 albums with GANGA ZUMBA. As a songwriter, he has provided songs for many musicians, including Sayuri Ishikawa, Shokichi Kina, Akiko Yano, Rimi Natsukawa, MISIA, Mika Nakashima, Junichi Okada, Hiroko Shimabukuro, Ayaka Hirahara, Kinki Kids, and Claudia Oshiro. His representative song "Shima Uta" became a major hit in Argentina (2001) and continues to spread globally across borders. In 2014, celebrating his 25th anniversary, THE BOOM concluded their history with a live performance at the Nippon Budokan. After a period of rest, he officially resumed his singing career in November 2018. He currently serves as an adjunct lecturer at the Okinawa University of Arts.
Kazufumi Miyazawa Official Websitehttp://www.miyazawa-kazufumi.jp/
Twitterhttps://twitter.com/miyazawa_info
Born in Kofu City, Yamanashi Prefecture in 1966. Debuted as the vocalist of THE BOOM in 1989. THE BOOM has released 14 albums, and he has released 4 solo albums and 2 albums with GANGA ZUMBA. As a songwriter, he has provided songs for many musicians, including Sayuri Ishikawa, Shokichi Kina, Akiko Yano, Rimi Natsukawa, MISIA, Mika Nakashima, Junichi Okada, Hiroko Shimabukuro, Ayaka Hirahara, Kinki Kids, and Claudia Oshiro. His representative song "Shima Uta" became a major hit in Argentina (2001) and continues to spread globally across borders. In 2014, celebrating his 25th anniversary, THE BOOM concluded their history with a live performance at the Nippon Budokan. After a period of rest, he officially resumed his singing career in November 2018. He currently serves as an adjunct lecturer at the Okinawa University of Arts.
Kazufumi Miyazawa Official Websitehttp://www.miyazawa-kazufumi.jp/
Twitterhttps://twitter.com/miyazawa_info
Shigeki Miyata
Born in Tokyo in 1949. Joined RCA (RVC Corporation) and worked as a house producer, involved in the production of Taeko Onuki, Mariya Takeuchi, EPO, and The Moonriders. In 1984, he co-founded the independent record label MIDI with Ryuichi Sakamoto. In 1991, following the success of Lisa Ono, he sold his shares in the company and subsequently enjoyed a relaxed life running a mini-label focused on releasing Brazilian music. In 2003, he was involved in João Gilberto's first visit to Japan and produced the CD "João Gilberto in Tokyo."
Born in Tokyo in 1949. Joined RCA (RVC Corporation) and worked as a house producer, involved in the production of Taeko Onuki, Mariya Takeuchi, EPO, and The Moonriders. In 1984, he co-founded the independent record label MIDI with Ryuichi Sakamoto. In 1991, following the success of Lisa Ono, he sold his shares in the company and subsequently enjoyed a relaxed life running a mini-label focused on releasing Brazilian music. In 2003, he was involved in João Gilberto's first visit to Japan and produced the CD "João Gilberto in Tokyo."
Concert Information
Chega de Saudade
João Gilberto Tribute Concert
Um Abraço no João
In Memoriam: THE BOSSA NOVA João Gilberto Prado Pereira de Oliveira
João Gilberto passed away on July 6, 2019 (local time) at the age of 88.
The music he created, Bossa Nova, is widely loved around the world and has influenced many artists in Japan.
We will hold a memorial concert where artists who love João's music will gather to commemorate his achievements.
Performers: Kazufumi Miyazawa / Yoshitaka Minami / Lisa Ono / Yoshio Nakamura / Miwa Sakamoto / Saigenji
Musicians: Gt. Shigeharu Sasako / Pf. Fabian Reza Pane / Drums & Perc. Masami Hattori / Bass Masahiro Kubota / Sax, Flute Yoshitaka Kuratomi / Perc. Kenji Imafuku / Sax Kunikazu Tanaka
João Gilberto Tribute Concert
Um Abraço no João
In Memoriam: THE BOSSA NOVA João Gilberto Prado Pereira de Oliveira
João Gilberto passed away on July 6, 2019 (local time) at the age of 88.
The music he created, Bossa Nova, is widely loved around the world and has influenced many artists in Japan.
We will hold a memorial concert where artists who love João's music will gather to commemorate his achievements.
Performers: Kazufumi Miyazawa / Yoshitaka Minami / Lisa Ono / Yoshio Nakamura / Miwa Sakamoto / Saigenji
Musicians: Gt. Shigeharu Sasako / Pf. Fabian Reza Pane / Drums & Perc. Masami Hattori / Bass Masahiro Kubota / Sax, Flute Yoshitaka Kuratomi / Perc. Kenji Imafuku / Sax Kunikazu Tanaka
Date: Wednesday, December 4, 2019
Time: Doors open 18:00 / Performance starts 18:30
Venue: Meguro Persimmon Hall
Address: 1-1-1 Meguro, Yakumo, Meguro-ku, Tokyo
Price: All seats reserved: ¥7,800 (Children aged 3 and above require a ticket.)
URL:http://promax.co.jp/joao-tribute/
Time: Doors open 18:00 / Performance starts 18:30
Venue: Meguro Persimmon Hall
Address: 1-1-1 Meguro, Yakumo, Meguro-ku, Tokyo
Price: All seats reserved: ¥7,800 (Children aged 3 and above require a ticket.)
URL:http://promax.co.jp/joao-tribute/
Organizers: JOÃO GILBERTO "LIVE IN TOKYO" Production Committee / The Asahi Shimbun Company
Sponsors: Embassy of Brazil / J-WAVE / Monthly LATINA | Cooperation: eplus
Inquiries: Sunrise Promotion Tokyo 0570-00-3337
Sponsors: Embassy of Brazil / J-WAVE / Monthly LATINA | Cooperation: eplus
Inquiries: Sunrise Promotion Tokyo 0570-00-3337
Release Information
The legendary live performance held in Tokyo in 2006. The world's first and only official live footage.
The legendary concert held at Tokyo International Forum Hall A in November 2006, which had never been released until now,
has been condensed into approximately 90 minutes of carefully selected footage, 13 years later. This is the world's first and only official live recording from João Gilberto's extensive career. Meticulously produced by the Japanese staff whom João himself trusted, this work is truly a genuine collector's item.
has been condensed into approximately 90 minutes of carefully selected footage, 13 years later. This is the world's first and only official live recording from João Gilberto's extensive career. Meticulously produced by the Japanese staff whom João himself trusted, this work is truly a genuine collector's item.
JOÃO GILBERTO "LIVE IN TOKYO" Blu-ray Disc
Price: ¥5,000 (excluding tax)
Price: ¥5,000 (excluding tax)