Technically, her singing left much to be desired – and though she spoke English fairly well, she sang it as tentatively as though she’d learned the words phonetically-making one wonder what, if anything, was going through her head.īut her shortcomings worked for her. Her doe-eyed, vacant stare, set off by girlish brown bangs, evoked every straight man’s daydream of an exotic, submissive woman in a bikini.
Her languid, affectless voice floated as lazily as a leaf on the Carioca breeze one could almost hear the surf breaking and the seagulls crying as she sang. Jazz saxophonist Stan Getz, who led the group, gained crossover pop celebrity from that single, which did more than any other recording to make the bossa nova a household word.Īstrud’s eight solo albums on Verve (1964-1969) spotlighted the phenomenon of a girl with the right sound at the right time, not to mention the right connections. It gave the unknown amateur singer a forty-year career, and brought worldwide acclaim to Jobim and to Astrud’s then-husband, João Gilberto, who joined her on the record. Heloísa’s sexy stride reminded de Moraes of the rhythm of the samba, and with Jobim he penned “Garôta de Ipanema” in her honor.īut to millions of record buyers, the Girl from Ipanema was Astrud Gilberto, the 24-year-old seductress who made that song an international hit in 1964. She captivated two Veloso regulars, Antônio Carlos Jobim and Vinícius de Moraes, the songwriting team who had helped create the bossa nova. Her name is Heloísa Pinheiro, and in the early ’60s she used to pass by Veloso, a bar near Ipanema beach. AS BOSSA-nova scholars know, there really was a Girl from Ipanema-and at this writing, she runs a dress shop in São Paulo, Brazil.
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