" Written in 1937 by George Gershwin and Ira Gershwin and introduced by Fred Astaire in the 1937 film Shall We Dance.
The song is performed by Astaire on the foggy deck of the ferry from New Jersey to Manhattan. It is sung to Ginger Rogers, who remains silent listening throughout. No dance sequence follows, which was unusual for the Astaire-Rogers numbers. Astaire and Rogers did dance to it later in their last movie The Barkleys of Broadway (1949) in which they played a married couple with marital issues. The song, in the context of Shall We Dance, notes some of the things that Peter (Astaire) will miss about Linda (Rogers). The lyrics include "the way you wear your hat, the way you sip your tea", and "the way you hold your knife, the way we danced till three." Each verse is followed by the line "no, no, they can't take that away from me." The basic meaning of the song is that even if the lovers part, though physically separated the memories cannot be forced from them. Thus it is a song of mixed joy and sadness."
in: wikipedia

Can't Take That Away From Me -  George Gershwin &  Ira Gershwin

"Minor Swing" is a popular Gypsy jazz tune composed by Django Reinhardt and Stéphane Grappelli. It was first recorded by The Quintet of the Hot Club of France in 1937. It was recorded five other times throughout Reinhardt's career and is considered to be one of his most covered compositions, as well as a Gypsy jazz standard.[1]
The composition was first released as a 78 single on the French Swing label in 1937 as SW.23A, Matrix ‪#‎OLA1990‬-1, featuring Django Reinhardt and Stéphane Grappelli under the group name Quintette du Hot Club de France."
in: https://en.wikipedia.org/wiki/Minor_Swing_(composition)

Minor Swing - Django Reinhardt

"Toquinho se surpreendeu quando recebeu uma ligação do ídolo Vinicius de Moraes para participar de uma turnê com Maria Medaglia, em 1971. Do encontro até nasceram algumas canções: “Como Dizia o Poeta”, “A Bênção, Bahia”, “Mais um Adeus”. Mas o violonista temia que a parceria esfriasse e acabasse por aí. Ficou de olho em uma letra do poetinha feita ali na Bahia, nos intervalos das apresentações no Teatro Castro Alves. Só tinha um problema: Vinicius decidira que daria o poema para Dorival Caymmi musicar.
Toquinho não teve dúvidas: foi embora para São Paulo roubando a letra. De volta a Salvador dias depois, já tinha a melodia para mostrar ao autor. Vinicius ficou ouvindo mudo, entre baforadas no cigarro, indeciso. O pessoal da casa já começava a cantarolar junto quando o poeta se convenceu: desistiu da parceria com Caymmi.
Quando Tarde em Itapuã começou a tocar na rádio, João Gilberto telefonou para Toquinho: “Acho que você não sabe o que fez nessa melodia!”. Depois foi Baden Powell: “Essa volta no refrão, essa mudança harmônica na frase ‘ouvindo o mar de Itapuã’ é uma das coisas mais bonitas que já ouvi”."
in: http://atrasdamusica.tumblr.com/

Tarde em Itapoã - Vinícius de Moraes & Toquinho

My Baby Just Cares For Me - Walter Donaldson/Gus Kahn
Billie Jean - Michael Jackson
Corcovado ( Quiet Nights of Quiet Stars) - Antonio Carlos Jobim
The House of the Rising sun - The Animals
Thriller - Michael Jackson
Faith - George Michael
Samba de Maracatu - Sergio Mendes
Tu Vuo Fa L'americano - Renato Carosone
Garota de Ipanema - Tom Jobim/Vinicios de Moraes
Black Bird - The Beatles

The Bossa Alibi - Medley

"Saravá João" by The Bossa Alibi
Letra e Música de João Mota.

Bate o Bordão mestre João,
Deixa a canção desafinar,
Que para cantar o coração
Tem de falhar, tem de aprender
A ter noção de que viver
É uma questão de perdoar.

Com tua voz tanto aprendi
E construi meu violão.
Que, só entre nós, eu afinei
E inventei essa canção
Um Saravá  para dedicar
À Bossa-Nova de João.

The Bossa Alibi 2019

Saravá João


The Bossa Alibi is a Jazz lounge duet composed by Renato Sousa and João Santos, both composers and musicians from various original side projects in the Portuguese music scene. Being friends for many years and collaborating in several live shows, they began to explore the legacy of jazz and crooner music in its various forms, from Bossa-Nova to Soul, from the Blues to Swing, crossing also the Folk and Pop music territories in order to recover immortal songs and give them the introspective, nocturnal and seductive side of the old pubs and clubs of yore.
Armed with an eclectic repertoire that aims to bring past and present together, the swing of Bossa-Nova is the perfect alibi for the perfect crime, to summon up the musical horizon with which they grown and continue to be inspired by.

The Bossa Alibi

Popular tracks