Luiz Floriano Bonfá (17 October 1922 – 12 January 2001) was a Brazilian guitarist and composer. He was best known for the music he composed for the film Black Orpheus.[1]
Biography
Luiz Floriano Bonfá was born on October 17, 1922, in Rio de Janeiro. He began studying with Uruguayan classical guitaristIsaías Sávio at the age of 11. These weekly lessons entailed a long, harsh commute (on foot, plus two and half hours on train) from his family home in Santa Cruz, in the western rural outskirts of Rio de Janeiro, to the teacher's home in the hills of Santa Teresa. Given Bonfá's extraordinary dedication and talent for the guitar, Sávio excused the youngster's inability to pay for his lessons.
Bonfá first gained widespread exposure in Brazil in 1947 when he was featured on Rio's Rádio Nacional, then an important showcase for up-and-coming talent. He was a member of the vocal group Quitandinha Serenaders in the late 1940s. Some of his first compositions such as "Ranchinho de Palha", "O Vento Não Sabe", were recorded and performed by Brazilian crooner Dick Farney in the 1950s. Bonfá's first hit song was "De Cigarro em Cigarro" recorded by Nora Ney in 1957. It was through Farney that Bonfá was introduced to Antônio Carlos Jobim and Vinicius de Moraes, the leading songwriting team behind the worldwide explosion of the great Bossa Nova in the late 1950s to 1970s, becoming a fever in the US. Bonfá collaborated with them and with other prominent Brazilian musicians and artists in productions of de Moraes' anthological play Orfeu da Conceição, which several years later gave origin to Marcel Camus' film Black Orpheus (Orfeu Negro in Portuguese). In the burgeoning days of Rio de Janeiro's thriving jazz scene, it was commonplace for musicians, artists, and dramatists to collaborate in such theatrical presentations. Bonfá wrote some of the original music featured in the film, including the numbers "Samba de Orfeu" and his most famous composition, "Manhã de Carnaval" (of which Carl Sigman later wrote a different set of English lyrics titled "A Day in the Life of a Fool"), which has been among the top ten standards played worldwide, according to The Guinness Book of World Records.
As a composer and performer, Bonfá was an exponent of the bold, lyrical, lushly orchestrated, and emotionally charged samba-canção style that predated the arrival of João Gilberto's more refined and subdued bossa nova style. Jobim, João Donato, Dorival Caymmi, and other contemporaries were also essentially samba-canção musicians until the sudden, massive popularity of the young Gilberto's unique style of guitar playing and expressively muted vocals transformed the music of the day into the music of the future. Camus' film and Gilberto's and Jobim's collaborations with American jazzmen such as Stan Getz and Charlie Byrd did much to bring Brazilian popular music to the attention of the world, and Bonfá became a highly visible ambassador of Brazilian music in the United States beginning with the famous November 1962 Bossa Nova concert at New York's Carnegie Hall.
In 2005, Smithsonian Folkways Recordings released an album of Bonfá's work, entitled Solo in Rio 1959, which included previously unreleased material from the original recording session.
In 2008, Universal Music France released a coffee table book containing two CDs which included previously unreleased material of the Black Orpheus soundtrack, and a DVD. Also in 2008, Universal Music released The Brazilian Scene, Braziliana and Black Orpheus celebrating the 50th anniversary of the bossa nova.
Bonfá's major legacy continues to be his compositions from the Black Orpheus soundtrack, most notably the instantly recognizable bossa nova classic "Manhã de Carnaval". But Bonfá's discography also attests to his uniquely inventive mastery of Brazilian jazz guitar. Bonfá's guitar style was brassier and more penetrating than that of his major contemporary, João Gilberto, and Bonfá was a frequent and adept soloist whereas Gilberto plays his own suave, intricate brand of rhythm guitar almost exclusively. Bonfá often played solo guitar in a polyphonic style, harmonizing melody lines in a manner similar to that made famous by Wes Montgomery in the US, or playing lead and rhythm parts simultaneously. As a composer and as a guitarist, Bonfá played a pivotal role in bridging the incumbent samba-canção style with the innovations of the bossa nova movement.
Bonfá's instrumental "Seville" from his 1967 LP Luiz Bonfa Plays Great Songs is the basis for the 2011 hit "Somebody That I Used to Know" by Belgian-Australian musician Gotye. Gotye's song charted number one in 27 countries.
Many other Bonfá's songs have been heavily sampled by MCs, rappers and DJs of the hip-hop generation. "Bonfá Nova" was sampled by Brazilian rapper Marcelo D2 on the hit song "À Procura da Batida Perfeita," "Jacarandá" was sampled by the group Planet Hemp on "Se Liga", "Bahia Soul" was sampled by the British band Smoke City on their biggest hit "Underwater Love". "Saudade Vem Correndo" became the hip-hero anthem "Runnin'" recorded by The Pharcyde. In 2021, JPEGMAFIA sampled different parts of the same song in "DIKEMBE!", which was included in the offline version of his "LP!" album and afterwards released in streaming services in his EP "OFFLINE!". Japanese DJ Nujabes ヌジャベス also sampled "Shade of the Mango Tree" (from 1980's Bonfa Burrows Brazil) in his track "Lady Brown" on the album "Metaphorical Music" in 2004.
