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Jazz - Released August 27, 1963 | Verve Reissues

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Jazz - Released January 1, 1970 | Verve Reissues

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Jazz - Released October 1, 1967 | Verve Reissues

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Jazz - Released October 5, 2010 | Masterworks Jazz

Jazz - Released October 1, 1967 | Verve Reissues

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Jazz - Released January 1, 1973 | Verve

Though this is one of the more obscure Jobim albums, it did introduce what some believe is Jobim's masterpiece, the hypnotically revolving song "Aguas de Marco" (heard here in Portuguese and English versions). Mostly, however, the record lets listeners in on another side of Jobim, the Debussy/Villa-Lobos-inspired creator of moody instrumental tone poems for films and whatnot, with the instrumental colors filled in by Jobim's old cohort, Claus Ogerman. This was supposed to be a breakthrough for Jobim, bursting out of the bossa nova idiom into uncharted territory, yet a lot of this often undeniably beautiful music merely treads over ground that Villa-Lobos explored long before ("Train to Cordisburgo" especially). In any case, Jobim would explore his serious muse with greater success later on. ~ Richard S. Ginell
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Jazz - Released June 15, 1967 | Verve Reissues

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Jazz - Released November 1, 1970 | Verve Reissues

On Jobim's second A&M album, Eumir Deodato takes over the chart-making tasks, and the difference between him and Claus Ogerman is quite apparent in the remake of "The Girl From Ipanema": the charts are heavier, more dramatic, and structured. Sometimes the arrangements roll back so one can hear, say, the dancing multi-phonic flute of wildman Hermeto Pascoal on "Tema Jazz," and the rhythms often veer away from the familiar ticking of the bossa nova. Jobim is his usual understated self, adding very subtle electric piano to his arsenal of acoustic piano and guitar, but the material sometimes falls short of Jobim's tip-top level (dead giveaway: "Tide" is a clever rewrite on the chord changes of "Wave"). Still, it's beautifully made and very musical at all times. ~ Richard S. Ginell
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Jazz - Released August 15, 1963 | Verve Reissues

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Jazz - Released March 29, 2005 | Verve Reissues

Pieced together from various albums to showcase what a remarkably consistent songwriter and performer Antonio Carlos Jobim was, Hip-O's 20th Century Masters - The Best of Antonio Carlos Jobim opens with two of Jobim's compositions from Stan Getz and João Gilberto's quintessential bossa nova record, Getz/Gilberto, before threading through his own career. With over 12 tracks, many of Jobim's defining songs are covered, from "The Girl from Ipanema" (the song that kick-started the careers of both Jobim and Astrud Gilberto, while also bringing bossa nova to popular consciousness) to "Corcovado (Quiet Nights of Quiet Stars)," a song proving that Jobim's talent only grew in emotional depth and complexity over ten years of being in the public eye. Though two-thirds of this collection focuses, rightly so, on his material from the early to mid-'60s, four tracks glimpse at his career in the 1970s and '80s as proof that Jobim's high standards, both as a songwriter and producer, were never forsaken. 20th Century Masters - The Best of Antonio Carlos Jobim proves an excellent set for those casually interested in exploring Jobim's work and the shaping of bossa nova. ~ Gregory McIntosh
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Jazz - Released November 21, 1995 | Verve Reissues

Issued nearly a year after Jobim's death, this three-CD set is ground zero, the place to start if you don't have any Jobim in your collection or for anyone who wants a single package of his multifaceted art. The set encompasses not only Jobim's own sporadic work for Verve from 1963 until his final 1994 Carnegie Hall concert and the two A&M albums of 1967 and 1970, but also sessions led by Stan Getz, Joao, and Astrud Gilberto in which Jobim appeared as a sideman. Guitarist Oscar Castro-Neves, who selected the music for this set, follows a unique game plan, devoting disc one to vocal renditions of Jobim's songs, disc two to instrumental versions, and disc three to multiple comparisons of a few Jobim standards by different performers. The selections are often adventurous, and the programming digs deeply into Jobim's PolyGram catalog for such overlooked gems as the bossa waltz "Mojave," the sly "Captain Bacardi," and the self-mocking "Chansong." For casual listening, discs one and two flow beautifully, and even disc three works, for despite the repetition of tunes, the approaches are varied enough to keep one's attention. Jobim collectors probably have almost everything on the set anyway, as there are no unreleased tracks other than a humorous uncredited rehearsal of "Aguas de Marco" tacked onto the end of "Vivo Sonhando." But they are certain to be attracted by the unique packaging -- a double-spiraled fold-out book containing lots of fascinating interviews and essays, and three discs wrapped in paper cutouts environmentally designed to look like fish, flowers, and leaves. The CD era's most imaginative graphics department has done it again. ~ Richard S. Ginell
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World - Released February 19, 2007 | Verve Reissues

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Bossa Nova & Brazil - Released January 11, 2012 | Columbia

Not only did Jobim stay active until the end of his life, he showed virtually no signs of creative burnout, as this, his last album, wondrously displays. Surrounded again by family and friends, he delivered a brace of 13 songs and compositions (plus two songs by the veteran songwriter Dorival Caymmi), many of them relatively new, most as heartbreakingly beautiful as anything from the bossa nova years. Sometimes Jobim's voice, never impressive, is almost gone and the production has a rough-hewn finish, but it doesn't matter; Jobim's craft and his brood carry him through, and son Paulo Jobim provides thick but highly competent orchestral arrangements. An especially touching passage is the brief "Samba de Maria Luiza," a Jobim duet with his little daughter Maria Luiza, who also turns up on the succeeding ode for the environment, "Forever Green." The final tone poem, "Trem De Ferro," obviously inspired by Heitor Villa-Lobos, is also the most startling, a strange chugging simulation of a train cutting through the underbrush. There is also an idiomatic duet with Sting on the familiar "How Insensitive" (later included on the Red, Hot and Rio anthology), and Caymmi makes a guest vocal appearance on "Maricotinha." Obviously Jobim still had a lot to give, making his death later in 1994 an even more poignant blow. Issued for the Latin market only, though pressed in the U.S., the CD is not difficult to locate in well-stocked big city shops. ~ Richard S. Ginell
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Jazz - Released August 1, 1963 | Verve Reissues

In his first American album, Antonio Carlos Jobim presents a dozen of his songs, each one destined to become a standard -- an astounding batting average. Jobim, who claimed to have been out of practice at the time of the session, merely plays single notes on the piano with one hand, punctuated by chords now and then, sticking to his long, undulating melodies with a few passages of jazz improvisation now and then. Yet it is a lovely idea, not a gesture is wasted. Arranger Claus Ogerman unveils many of the trademarks that would define his Creed Taylor-produced albums with Jobim -- the soaring, dying solo flute and spare, brooding unison string lines widening into lush harmony; flutes doubling on top of Jobim's piano chords -- again with an exquisitely spare touch. The songs include "Desafinado," "Corcovado," "Chega de Saudade" (No More Blues), "The Girl From Ipanema," "Meditation," "One Note Samba," and half-a-dozen others (every one of which is included on The Man From Ipanema set). ~ Richard S. Ginell
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Pop - Released February 5, 2008 | Rhino - Warner Records

Unlike his debut, Jobim's second LP for the American market was strictly a pop album, with the composer himself singing, while the arranging/conducting chores were placed in the capable hands of Nelson Riddle. What promises to be an excellent collaboration, however, doesn't quite turn out, and the results are much more bland than could be expected from such distinct talents. To begin with, Riddle's charts are surprisingly safe, quite a disappointment from the man whose work with Frank Sinatra raised the bar for the art of arranging. Jobim's contributions are less than expected also, limited for the most part to his quavering vocals (Warner Bros. seems to have been positioning him as a pop star) and a set of compositions inferior to his first album (only "Agua de Beber" is repeated here). Jobim's is the voice of a composer, though, and what he lacks in tonal quality and strength he does make up for with delivery and subtlety of interpretation, especially on contemplative material like "Dindi" and "A Felicidade." It's not all Brazilian ennui; the instrumental "Surfboard" has a playful edge, with a rush of strings bringing on the collapse of each wave, and "She's a Carioca" (with English lyrics by Ray Gilbert) is a cheerful sequel to "The Girl From Ipanema." ~ John Bush
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Jazz - Released February 17, 2017 | Rhino - Warner Bros.

In some ways, this is a strategic retreat for Antonio Carlos Jobim after the classical departures of the '70s -- a retrospective of past triumphs, including some of the most trod-upon standards ("Ipanema," "Desafinado," "One-Note Samba," etc.), with Claus Ogerman again at hand. But these are thoughtful retoolings, some subtle, some radical, ranging in backing from a lonely piano to elaborate yet sensitive Ogerman orchestral flights that cram more complexity than ever into the spaces (listen to his beguilingly involved take on "Double Rainbow") with only a few overbearing faux pas. Jobim's own vocals sound increasingly casual in temperament as he serves them up in an unpredictable mixture of Portuguese, English and scat. And there is much unfamiliar material here, often dressed up in a brooding classical manner. Originally a two-LP set and later on one CD, this is a snapshot of Jobim's view of his output as of 1980; as such, it is not as definitive as Verve's posthumous The Man from Ipanema set ~ Richard S. Ginell
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Jazz - Released April 19, 1994 | GRP

Antonio Carlos Jobim's entry in the exhaustive VERVE JAZZ MASTERS set of historical reissues is one of the best single-disc Jobim anthologies available. It's not got much in the way of historical range, since it stops in the mid-'60s, just before Jobim left Verve for Reprise and then A&M. However, since Jobim's Verve years were, in the minds of many, his career highpoint, VERVE JAZZ MASTERS 13 distills the best of his most artistically and commercially successful period. Nearly all of Jobim's greatest songs are here in their definitive versions, and the whole is sequenced thoughtfully, so that the disc has a logical and delightful flow. This is magnificent stuff, as well as being the birth of bossa nova. This disc is also available as part of the three-disc box VERVE JAZZ MASTERS: THE BOSSA NOVA STORY, alongside discs by Astrud Gilberto and Stan Getz.
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Jazz - Released November 5, 1970 | Verve Reissues

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Jazz - Released March 20, 2019 | Play Music

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Jazz - Released January 1, 1987 | Verve

Passarim is Jobim's major statement of the '80s, emerging during a time when his concerns were turning increasingly toward the Planet Earth. The title song is one of Jobim's most haunting creations, a cry of pain about the the destruction of the Brazilian rain forest that resonates in the memory for hours. Also, by this time, Jobim had resumed touring with a large group containing friends and family, and they carry a great deal of the load here, with lots of airy female backup vocals, two worthy songs by Jobim's multi-talented son Paulo, and another by flutist/singer Danilo Caymmi. Recorded entirely in Rio, the record's overall sound is very different from Jobim's '60s and '70s work: denser, hazier, still grounded in the samba yet rougher in texture (as is Jobim's voice). Though not as immediately winning as the Creed Taylor-produced albums, this music repays repeated listening -- particularly the extended suite from Jobim's score for the film Gabriela -- and there are samples of his wry humor in "Chansong" and the bossa nova reworking of "Fascinatin' Rhythm" ~ Richard S. Ginell