It was through Farney that Bonfá was introduced to Antonio Carlos Jobim and Vinicius de Moraes, the leading songwriting team behind the worldwide explosion of Brazilian jazz/pop music in the late 1950s and 1960s.
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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.
An arrangement of Carl Orff's composition Carmina Burana for 5-string banjo appears on his first album and other musical fusions include his adaptation of Luiz Bonfá's "Manhã de Carnaval", a lengthy variation on "Memphis Tennessee" by Chuck Berry, and compositions derived from works of J. S. Bach and Roebuck Staples.
Luiz Inácio Lula da Silva | Luiz Bonfá | Luiz de Barros | São Luiz, Roraima | São Luiz | Luiz Trainini | Luiz Pacheco | Luiz Inacio Lula da Silva | Luiz Gonzaga | Luiz Fux | Luiz Firmino | Luiz Ejlli | Luíz Eça | Luiz Bolognesi | Luiz Antônio | Luiz Adriano | Esporte Clube São Luiz | David Luiz |
# Black Orpheus Medley: Manhã de Carnaval/Batuque de Orfeu/Samba de Orfeu/A Felicidade (Luiz Bonfá & Antônio Maria/Rossini Pacheco/Luiz Bonfá & Antônio Maria/Antônio Carlos Jobim & Vinícius de Moraes)
Influenced by Wes Montgomery, Johnny Smith, Luiz Bonfá, Pat Martino, and George Benson, it was at this time that Tropea began to absorb those influences into an original style of his own.
# "Carnaval (Theme From "Black Orpheus")" (Luiz Bonfá, Maria Toledo, Antônio Maria) - 2:34
"Manhã de Carnaval" ("Morning of Carnival"), is the title of the most popular song by Brazilian composer Luiz Bonfá and lyricist Antônio Maria.
Among them was a disc featuring the songs "Manhã de Carnaval" and "Samba de Orfeu" by Luiz Bonfá and Antônio Maria, which had been part of the soundtrack of the 1959 film Black Orpheus.