section_path: Post-war jazz/Latin jazz/Afro-Brazilian jazz
section_name: Afro-Brazilian jazz
paragraph_text: Afro-Brazilian jazz
  
  Brazilian jazz, such as bossa nova, is derived from samba, with influences from jazz and other 20th-century classical and popular music styles. Bossa is generally moderately paced, with melodies sung in Portuguese or English, whilst the related jazz-samba is an adaptation of street samba into jazz.
  
  The bossa nova style was pioneered by Brazilians João Gilberto and Antônio Carlos Jobim and was made popular by Elizete Cardoso 's recording of " Chega de Saudade " on the Canção do Amor Demais LP. Gilberto's initial releases, and the 1959 film Black Orpheus, achieved significant popularity in Latin America; this spread to North America via visiting American jazz musicians. The resulting recordings by Charlie Byrd and Stan Getz cemented bossa nova's popularity and led to a worldwide boom, with 1963's Getz/Gilberto, numerous recordings by famous jazz performers such as Ella Fitzgerald and Frank Sinatra, and the eventual entrenchment of the bossa nova style as a lasting influence in world music.
  
  Brazilian percussionists such as Airto Moreira and Naná Vasconcelos also influenced jazz internationally by introducing Afro-Brazilian folkloric instruments and rhythms into a wide variety of jazz styles, thus attracting a greater audience to them.
  
  While bossa nova has been labeled as jazz by music critics, namely those from outside of Brazil, it has been rejected by many prominent bossa nova musicians such as Jobim, who once said "Bossa nova is not Brazilian jazz."