Music
Jazz Roots celebrates Antônio Carlos Jobim and the art of deceptive simplicity
The legacy of Brazilian composer Antônio Carlos Jobim will be honored Friday, Nov. 6 and features the University of Miami Frost School of Music Henry Mancini Orchestra. The concert opens the 2026-27 Jazz Roots series at the Knight Concert Hall at the Adrienne Arsht Center. (Photo courtesy of artist management)
Making music sound difficult is easy. Creating subtly subversive music and making it sound easy demands a special talent. Brazilian composer Antônio Carlos Jobim made a mark in American culture with music of deceptive simplicity.
Part of repertories in concert halls and heard in the piped-in music in malls and elevators, his songs are by now part of the American soundtrack, from “Desafinado,” his first U.S. hit in 1962, and “Garota de Ipanema” (“The Girl from Ipanema”), which won the Grammy for Record of the Year at the 1965 Grammy Awards, to “Chega de Saudade” (“No More Blues”), “Insensatez” (“How Insensitive”), and “Águas de Março” (“Waters of March”).
Antônio Carlos Brasileiro de Almeida Jobim was also known as Tom Jobim, a variant of Ton Ton, the nickname his sister Helena gave him. “Ah, the critics in Brazil began to say, ‘Tom is an American name,’ ” he once lamented in an interview, throwing his hands up in mock despair.
The legacy of Jobim, who died in 1994 and would have celebrated his 100th birthday on Jan. 25, 2027, will be honored Friday, Nov. 6. The concert opens the 2026-27 Jazz Roots series at the Knight Concert Hall at the Adrienne Arsht Center.
Brazilian pianist, singer, composer and arranger Eliane Elias is one of the premier interpreters of Antônio Carlos Jobim music. (Photo by Nagy Attila)
Titled “Jobim and the Music of Brazil,” the tribute features pianist and singer Eliane Elias, clarinetist Anat Cohen and Trio da Paz, comprising guitarist Romero Lubambo, bassist Nilson Matta and drummer Duduka Da Fonseca.
Pianist Shelly Berg and the Frost School of Music’s Henry Mancini Institute Orchestra, led by resident conductor Scott Flavin, round out the lineup.
“Every year, as we’re thinking about the Jazz Roots opening concert, we discuss what artists we should honor,” says Berg, artistic advisor for the series and former dean of the University of Miami’s Frost School of Music, a position he held for 19 years.
“Knowing that the Jobim Centennial was coming, we felt that this was appropriate, especially in Miami, a multicultural city. It is such beloved music and so important in the history of two streams of music, Brazilian music and jazz music that it was an easy decision — and a fun decision to make.”
Pianist and arranger Shelly Berg, Jazz Roots Artistic Advisor, says that knowing the Antônio Carlos Jobim Centennial was coming, paying tribute to his music was appropriate, “especially in Miami, a multicultural city. ” (Photo by Daniel Azoulay)
The appeal of Jobim’s music, Berg explains, lies in the sophistication beneath its apparent simplicity.
“What makes Jobim’s music special? Jobim wrote beautiful melodies, but also really wonderful harmonic progressions, and because of his classical studies, he injected some classicism into the mix of jazz and Brazilian music and the result is unique — except you don’t realize that because it all works so well.”
Rarely does music serve as such a discreet but fitting self-portrait of the man who wrote it.
“Sure, I pretend to be a simple man,” Jobim said in a 1987 interview with this writer at his New York apartment. “I say this, and people get furious. Maybe it’s the language. In Portuguese, pretender means something else. It means to intend, to aspire. So, I intend to be a simple man. But I also pretend to be simple, presenting things in a simple way — but there’s always something under the surface.”
Elias laughs when she hears the quote.
Intending to be simple “is why he could reach so many people. He had this incredible way of writing music, just incredibly beautiful,” she says. Brazilian music and West Coast jazz were defining influences in Jobim’s writing, but so was his classical education. “He loved the romantics; he loved Chopin, the impressionist, Debussy and Ravel and Villa-Lobos, and that music, that beautiful baggage is part of his music. It’s a good thing that you can hear it playing in an elevator or a supermarket,” she says. “It also means that this music reaches everyone, that you went from a more intellectual audience to the simplest audience. And that’s the beauty of it.”
Formed in 1985, Trio da Paz features, from left, bassist Nilson Matta, drummer Duduka Da Fonseca and guitarist Romero Lubambo. (Photo courtesy of artist management)
Elias got to meet and play with Jobim early in her career, when she was still a teenager, and over the years has become a premier interpreter of Jobim’s music. She has released two strong albums of Jobim’s music: the instrumental “Eliane Elias Plays Jobim” (1990), which highlights the jazz influence in Jobim’s writing, and “Eliane Elias Sings Jobim” (1998), in which she revisited classic titles as a vocalist. Elias’ third album of Jobim’s music will be released next January to coincide with the centennial celebration.
Emerging in small spaces and clubs in Rio, bossa nova was vocal, not dance music. Jobim wrote some of the lyrics for his songs, but also worked with exceptional lyricists such as Vinícius de Moraes and Newton Mendonça, in the original Portuguese, and Gene Lees and Norman Gimbel, for the English versions.
In bossa nova there was no melodrama, not in the lyrics, and not in the delivery. Instead, the singing suggested a confidence shared with friends. Astrud Gilberto, who was not a professional singer when she recorded “The Girl from Ipanema” with her then-husband João Gilberto and saxophonist Stan Getz, once explained that “One’s song should be as simple as human speech.”
“Singing bossa nova does require a certain approach,” notes Elias. “It’s not about powerful vocals or great vocal ranges, volume or power. It’s intimate, it’s about how you phrase the melody, the lyrics, how you sing to the rhythm of the song. It’s very, very particular. It’s not for demonstrations of technique. It’s about placement and how you say it.”
Elias was 17 and on a tour with guitarist and singer Toquinho (Antonio Pecci Filho) and lyricist and poet Vinicius de Moraes, a friend and close collaborator of Jobim, best known as the co-writer of the original Portuguese version of “Garota de Ipanema” (“The Girl from Ipanema”), when she met Jobim.
Virtuoso clarinetist Anat Cohen, who is part of the lineup for “Jobim and the Music of Brazil,” fell in love with the choro music of Brazil and the country eventually became a home away from home for her. (Photo by Shervin Lainez)
“He would sometimes be with us on our shows,” recalls Elias. “This tour lasted three years, and we would stay for a full month in Rio de Janeiro, or in Argentina so that Jobim would come around and sometimes he would join us, or he would come around to Vinicius’ villa where we would get together when we were in Rio. So, I got to spend time with him, and that friendship continued throughout the years. It was a beautiful, long relationship.”
Those years gave Elias more than a personal connection to Jobim. They provided an education in Brazilian music from the artists who helped define it.
“The whole experience was very special, musically, personally, in every way,” she says. “Vinicius was one of the greatest, if not the greatest, lyricists and poets that Brazil ever had. Being around him, Toquinho and Tom was something very, very special. I learned and lived this music right from the creators of this music.” What we’ll hear, she notes matter-of-factly, “couldn’t be more authentic.”
WHAT: “Jobim and the Music of Brazil,” opening concert of the 2026-27 Jazz Roots Series.
WHERE: The Knight Concert Hall at the Adrienne Arsht Center for the Performing Arts, 1300 Biscayne Blvd. Miami
WHEN: 8 p.m. Friday, Nov. 6
COST: $52.65–$152.10, including fees.
INFORMATION: (305) 949-6722 and www.arshtcenter.org
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