Vinicius de Moraes和Antonio Carlos Jobim (恩东纽．卡娄斯．久宾)的首度合作，就是从这张音乐剧《Orfeu da Conceição》(奥菲邬的意象)里的所有音乐开始的。
当1956年Vinicius暂放下驻法外交官的职务返回巴西后，即着手筹备音乐剧《Orfeu da Conceição》的开演。虽然，就Vinicius当时既身为外交官且又是声名卓著的诗人来说，要找任一位知名的作曲家替这出音乐剧的配乐操刀，理应是不费吹灰之力的。但是，为了要能够找到和自己的音乐构思互相契合，且主要是希望这出诗意盎然并以森巴曲风为基调的音乐剧，能够巧妙揉合传统与时尚乐音，以呈现出耳目一新且引人入胜的剧乐；然像这样理想中的作曲家，可是让Vinicius着实伤脑筋了起来。好在，多亏了身边的智囊团，一位是Ronaldo Bôscoli (侯淖度．玻斯苟里)，一位是Chico Feitosa (席古．费多沙)，他们俩当时都还是Última Hora (终点报)的记者，及时提供了一个人选给Vinicius，加上另一位也是记者的好友Lúcio Rangel (卢西邬．杭杰)亦持相同建议且积极安排下，Vinicius即在Casa Villarino (费拉林诺之家)这间酒吧，与他即将要合作的音乐伙伴Tom Jobim (Antonio Carlos Jobim)正式会面。
当然，Casa Villarino并不是Vinicius第一次见到Tom的地方，早在此次会面的两、三年前，Vinicius就有在Tudo Azul (全蓝)及Clube da Chave (钥匙俱乐部)看过Tom的钢琴演奏，且也听过Tom与Billy Blanco (比利．布蓝古)于1954年联手创作的"Sinfonia do Rio de Janeiro"(里约热内卢交响曲)。除了对Tom并非全然陌生外，Vinicius主要还是因为系Ronaldo Bôscoli郑重推荐Tom的缘故，才会当下决定找Tom来为他的音乐剧《Orfeu da Conceição》配乐谱曲。不过，Vinicius此举并不是因为冲着Ronaldo是他当时爱妻Lila de Moraes (Lila Bôscoli)的哥哥。而是在Vinicius的眼里，Ronaldo不仅机灵过人，同时也很清楚这出音乐剧究竟需要什么样的作曲家来担纲是最合适的。所以对Ronaldo力荐的人选，Vinicius自是百分百的放心及信任。
关于Vinicius撰写的《Orfeu da Conceição》这部剧作，系改编自希腊神话中惊天地而泣鬼神的《Orpheus and Eurydice》(奥菲尔斯与尤丽狄希)。

Black Orpheus the film by Marcel Camus, and its soundtrack, were the signposts by which the world first learned of samba and bossa nova and fell in love with it. Therefore, it is staggering to consider that it took until 2008 for a definitive edition of the soundtrack to be released, one that assembled all the songs and music heard in the film. After all, this is the score that created the partnership of composer Antonio Carlos Jobim and poet Vinicius de Moraes, and introduced the brilliant and influential guitarist Luiz Bonfá. Universal France has assembled all the sound recordings into one 17-track volume. These include the two original 45 EPs, and the 10" 33 rpm album, as well as some tracks that have never appeared before now. Given the wild success of the readily recognizable album on both LP and CD over the decades, this amounts to an entirely new hearing of Brazilian music -- bossa was emerging in Rio at the time too, a brand new genre. The sounds of the various samba schools from the carnival parades are accompanied by the gorgeous instrumental interludes by Bonfá (including the now ubiquitous "Manha De Carnaval," written with poet Antonio Mara), and the songs of de Moraes and Jobim (including "A Felicidade," as sung by Elizeth Cardoso). The songs may be well known now; the music of the favelas, as practiced by the escolas de samba with their agogo bells, atabaques drumming, stomping batacuda solos, and duels, folk line chants, and unusual (even now if one thinks about it) blend of African rhythms, dissonance, and extended harmonics, is still revolutionary today. A 13-minute encore medley by Brazilian guitarist Bola Sete that recorded in 1966 at the Monterey Jazz Festival, has been added as a bonus cut, wedding "Manha de Carnaval," to "A Felicidade," and "Samba de Orfeo." The presentation is handsome. There is an exhaustive historical essay by French scholar Anaïs Fléchet, complete discographical information, and photos. The sound quality is only fair, but considering the neglect of the original masters, its actually remarkable.

《Wave》是Jobim在1967年夏天于A&M唱片公司旗下推出的出色专辑唱片，也是Bossa Nova乐派的代表作品。唱片时长不到32分钟，但是却全方位地展示了这种音乐形式的独特魅力。

Import only remastered reissue of the late Brazilian jazz icon's 1970 album. Guests include Ron Carter, Hubert Laws & Airto Moreira. Ten tracks including, 'Tereza My Love', 'Children's Games', 'Choro' and the bonus track 'Brazil' (alternate take).