Half a century ago in Brazil, it really was the “new thing”. Bossa nova: a suave blend of samba and jazz that assuaged heartache even as it sang about it. A sound best sashayed to with caipirinha in hand, on Ipanema beach.

Created by a now-legendary group of Rio musicians, it soundtracked the city’s easy glamour. But as Rio got tougher, bossa got blander. International attention sparked a resurgence, but for the Fifties generation the bossa flame never died.

This celebratory concert was both curated and hosted by Joyce, a singer as ageless as her medium. Here were stars of bossa’s past, present and future: natty, silver-haired Carlos Lyra, who played Carnegie Hall in 1962 alongside godfather Antonio Carlos Jobim. Celso Fonseca, tall and rangy on electric guitar, crooning harmonies with hand-clapping bossa rocker Vinicius Cantuaria. Joyce’s daughter, Clara Morena, swishing her maxi dress in time to an all-star band.

Roberto Menescal and Wanda Sa perched on vertiginous stools to sing and strum favourites including Chega de Saudade. Marcos Valle played keyboards, Joao Donato, piano. Everyone piled on stage for the encore. But it was an all-female medley of — what else? — Girl From Ipanema that got the biggest cheers.