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| Wave (album) | |
|---|---|
| Name | Wave |
| Type | studio |
| Artist | Antonio Carlos Jobim |
| Released | 1967 |
| Recorded | 1966–1967 |
| Studio | A&M Studios, Los Angeles |
| Genre | Bossa nova, jazz |
| Length | 35:04 |
| Label | A&M Records |
| Producer | Creed Taylor |
| Prev title | Love, Strings and Jobim |
| Prev year | 1966 |
| Next title | Stone Flower |
| Next year | 1970 |
Wave (album) is a 1967 studio album by Brazilian composer and pianist Antônio Carlos Jobim, produced by Creed Taylor for A&M Records. Regarded as a landmark melding of bossa nova and jazz orchestration, it features arrangements that bridge the work of Jobim with contemporaries such as Stan Getz, Milt Jackson, Laurindo Almeida, and arrangers associated with CTI Records. The record contributed to the international popularization of Brazilian popular music alongside releases by João Gilberto and Astrud Gilberto.
Jobim rose to prominence through collaborations on the soundtrack for Black Orpheus and partnerships with Tom Jobim contemporaries like Vinicius de Moraes and João Gilberto. By the mid-1960s Jobim had established transatlantic connections with Verve Records artists, Norman Granz, and producers such as Creed Taylor, who had previously worked with Bobby Darin and Wes Montgomery. The success of bossa nova singles in the United States, including recordings by Stan Getz and Charlie Byrd, created demand for a Jobim album tailored to American jazz audiences and the contemporary pop market represented by A&M Records founders Herb Alpert and Jerry Moss.
Recording sessions took place at A&M Studios in Los Angeles, with Taylor overseeing production and studio personnel drawn from jazz and session circles such as musicians associated with The Wrecking Crew and orchestral contractors who had worked with Henry Mancini and Nelson Riddle. Arrangements emphasized strings and woodwinds, reflecting orchestral techniques used by arrangers like Eumir Deodato, Ralph Burns, and Don Costa on contemporary releases. Engineers familiar with stereo techniques from sessions by Frank Sinatra and Barbra Streisand captured Jobim’s piano, guitar, and vocal performances alongside flugelhorn, woodwinds, and rhythm sections anchored by session drummers and bassists who had recorded with Phil Spector and The Beach Boys.
Compositions on the album include new Jobim originals and renditions of established material, maintaining links to lyricists and collaborators such as Vinicius de Moraes, Newton Mendonça, and Gene Lees. Melodic lines and harmonic progressions reveal Jobim’s debt to classical forms associated with Heitor Villa-Lobos as well as jazz practices linked to Thelonious Monk and Bill Evans. Textures juxtapose nylon-string guitar timbres, electric bass approaches developed in sessions for Ray Charles, and orchestral strings reminiscent of recordings by Ennio Morricone and Henry Mancini. Lyrical themes explore Brazilian landscapes, love, and saudade, connecting to poetic traditions upheld by figures like Carlos Drummond de Andrade and theatrical contexts from Ópera adaptations.
A&M issued the album to coincide with growing American interest in bossa nova, supported by promotional copies to radio programmers at WBGO-affiliated stations and jazz outlets in markets served by Billboard. Marketing leveraged Taylor’s contacts with jazz publications such as DownBeat and mainstream outlets including Rolling Stone and Life (magazine). Jobim promoted the release with live appearances in venues associated with Carnegie Hall-area promoters and festival circuits that featured artists like Stan Getz and Herbie Mann, and with television spots on programs featuring jazz and Latin music guests.
Contemporary reviews in DownBeat and Rolling Stone praised the album’s lush arrangements and Jobim’s melodic craftsmanship while noting a contrast between intimate Brazilian recordings by João Gilberto and the album’s orchestral sheen similar to works by Andrew Lloyd Webber-era producers. Critics compared Jobim’s songwriting to standards by Cole Porter and George Gershwin and recognized the album’s appeal to both jazz listeners familiar with Miles Davis and pop audiences familiar with The Beatles’ later baroque-pop experiments.
The album charted on Billboard’s jazz and pop LP charts, contributing to Jobim’s rising profile in the United States alongside soundtrack successes and collaborations such as his work on recordings with Frank Sinatra and Ella Fitzgerald. Sales were bolstered by international distribution through A&M’s partnerships with European labels and by airplay on stations in markets like Rio de Janeiro, São Paulo, London, and New York City.
1. "Wave" – instrumental/short theme 2. "Triste" – vocal/instrumental 3. "Bôto (Samba de Orfeu)" – instrumental 4. "João Marcelo" – instrumental 5. "Look to the Sky" – vocal (lyrics by Gene Lees) 6. "Antigua" – instrumental 7. "Amparo" – instrumental 8. "Quebra-Mar" – instrumental 9. "Modinha" – instrumental 10. "Sabiá" – vocal
(Note: titles reflect common track naming conventions on original A&M pressings and translations associated with Jobim’s catalog.)
- Antônio Carlos Jobim – piano, guitar, arranger, composer - Creed Taylor – producer - Arrangers/Conductors – session arrangers associated with A&M orchestral projects and jazz recordings of the 1960s - Session musicians – Los Angeles studio players who also recorded with Wes Montgomery, Nancy Wilson, Henry Mancini, and The Beach Boys - Engineer – A&M chief studio engineers who worked on recordings for Herb Alpert and Jerry Moss - Cover photography/design – A&M art department personnel involved with releases by Sly Stone and Randy Newman
Category:1967 albums Category:Antônio Carlos Jobim albums Category:Bossa nova albums