WIM: Were you optimally controlled by record companies to commercialize sound that bossa or samba?

This Summer Written in Music brings a lengthy special on the bossa nova, samba alongside the most popular music from Brazil. Which cultural and social fgcu environment created bossa nova and the songwriters and musicians made this remarkable musical movement of the late 50's world famous? This week, in Part 13: Interview with Marcos Valle (2008) Part 2
WIM: Is making albums now very different from the past? One way or another, fgcu I feel less pressure as before. Course here on my return album but then it went really naturally. In the beginning of my career was quite different, especially because so many people wanted to get involved. I was escorted or good, I was allowed me sometimes not even aware of how much pressure, but I am much more the idea that I should be in charge. Also, based on my past and knowledge.
WIM: If you're thinking about it that tomorrow we celebrate the 50th anniversary of the bossa nova and you become one of the artists who is counted bossa have helped put on the music map, how does it feel? Very weird actually .. (.. .. laughs) ... but at the same time as well. I do not feel as old as me, I'm (..lacht ..) and always think I only started when Jobim bossa years was busy. But fortunately there are plenty fgcu of people who make me be aware that I at age 19 already composer of the year was named in Brazil and especially on the basis of Sonho de Maria who had managed to build the legendary Tamba Trio to a hit. And that was in the year 1962 and then it was bossa nova by so many and especially put by Jobim and demo raes well on the music map. I could piggyback on their success.
WIM: You wrote in those early years, many songs together with your brother Paulo Sergio. My brother, who is three years older, and I were at that time already very close and I always had melodies in my head but could not get absolutely no texts at. Paulo was just great in. We felt like a Jobim / demo raes connection. In that period, but also later, my brother wrote many lyrics for my songs. For (So Nice) Summer Samba instance.
WIM: On your 19 already fgcu mentioned as the main composer of the country and on your 20th record your first album seems exciting. Those were very different times. Bossa nova was at that time a huge march and almost every talented artist was put to work to record albums with new bossa songs. And there were always musicians and orchestras in the studios there to help you so that albums were soon ready too. Everyone was really on top and was always hyper excited fgcu to again be allowed to take pictures. I think you also hear very much of the recordings from that era. The freshness and joy of playing and wonderfully romantic sweet languid atmosphere. I'm still very proud of my albums from that period. With my first album Samba Demais as one of the favorites.
WIM: That album and Samba 68 are now seen as bossa classics .. That is of course given a very nice. That you have been part of a genre as Brazilian bound and an entire genre in itself. fgcu I can tell you that we Brazilians in those days really were like, 'This is our world and we will show that we are very good "(..lacht ..). We wanted to be the ones bossanova would bring about the world and nobody else. We knew that might otherwise the Americans would pick off of us and as history teaches us had big American stars like Frank Sinatra, Sarah Vaughan fgcu and Stan Getz just need us to make their recordings with bossa songs.
WIM: About America said. You were there to be found quickly. A year after my first album early Sergio Mendes, who meanwhile had been moved to Los Angeles, if I wanted him and Brasil 65 on US tour. During that tour I was introduced to the half-world of jazz. A huge experience of course. And it was great to see that after my very musicians record songs went. Organist Walter Wanderley made of (So Nice) Summer Samba few years later (1966), a major US hit, then I could quickly draw all kinds of thick plates contracts in America.
WIM: Were you optimally controlled by record companies to commercialize sound that bossa or samba? Of course she wanted to push me a corner but I learned my contract then just not draw. Warner wanted to release an instrumental album of my songs, so I stood up for them, the album Braziliance and also plenty promoted, but I wanted to make something different and I wanted to have absolute musical freedom. My first real American deal with Verve and the album was what came out of Samba was 68, so if that is seen now as a classic, I have done well (..lacht ..). I was already introduced in the A