What's In A Name?

Compare and contrast two airports.

One country re-names its capitol's airport, to the greater glory of the pioneer in defunding the nation's public services—now reaching the point of disintegration.

Reagan's policies mocked the very idea of public good; hastened the concentration of wealth in the hands of a few; and began the transformation of a stable middle-class into a fading memory of old geezers.

He served his purpose well; the memorials to him will grow ever grander, just to be sure they overshadow the real history. Reagan is the gift that keeps giving, to our ruling class and the broken political system that continues its enrichment.

The following year, another country names an international airport for a giant of the country's rich musical culture: Antonio Carlos "Tom" Jobim.

In commemorating the artistic partnership of Jobim with Vinicius de Moraes, Peter Rozovsky writes that after their deaths

...perhaps the most fitting tribute of all was to Jobim, who wrote beautiful music inspired by the view of Rio de Janeiro from high above, from an airplane about to land. Today, anyone enjoying the same view will land shortly thereafter at the airport newly renamed in his honor: Rio de Janeiro International Airport Galeão—Antonio Carlos Jobim.

Image: worldcitypics.com

Performing the music inspired by that view: the composer and vocalist Miúcha, in 1978—



Youtube has more "Samba do Avião" videos, performed by Jobim with a variety of other musicians.

Over the years the song has become a Brazilian standard, recorded by pretty much every important singer in the country. Youtube also has a number of these versions, ranging from the soaring vocal of Milton Nascimento—



—to the understated solo guitar and vocal by one of Bossa Nova's original creators, João Gilberto.



I don't know the source or its accuracy, but I once heard a factoid that Jobim's work as a whole is the world's most frequently recorded.

It seems plausible. The musicians of Jobim's native country alone would boost the count, as succeeding generations in Brazil reinterpret the composer's songs.

And the music's international popularity continues. It really is hard to go wrong with such irresistible melodies and rhythms—even as elevator music, the stuff is catchy.

But at more memorable levels than that, jazz musicians outside Brazil continue discovering Jobim—just as they did in the 1960s.

From 1962: Dizzy Gillespie and group, in an arrangement by pianist Lalo Schifrin—



And from 1966: a marvel named Ella—