It pre-dates Bossa Nova. Here's an excerpt from McGowan and Pessanha's book, "The Brazilian Sound":
Almeida and Shank's "jazz-samba" was not bossa nova, as some have claimed; it lacked the characteristic João Gilberto beat, the harmonic stamp of Jobim, and the economy of expression achieved by bossa. Quite simply, it had a different mood and sound. ... [Almeida and Shank] continued their jazz-samba collaborations with "Holiday in Brazil" and "Latin Contrasts." On other albums, Almeida linked a variety of Brazilian musical genres to jazz and classical forms. For example, he explored modinha, choro, maracatu and boi-bumbá in "Duets with the Spanish Guitar" in 1957...
Though Almeida was several thousand miles away from the burgeoning bossa nova movement in Rio in the last 1950s, he adapted that to his own style when it was carried to American shores by Getz, Gilberto, Byrd, Jobim and others.
I heard Joao Gilberto before I ever heard the Shank/Almeida material, and I must say, the latter never really appealed to me much (nor has Charlie Byrd, as I've listened to him more in the years following my exposure to Joao). I still enjoy Getz's work in the brazilian realm (although some purists have said that even Stan didn't always "get it" in terms of rhythms), but the work of some of his rhythm section sidemen makes some of those recordings far less enjoyable than they used to be, before I began exploring more authentic brazilian music (and I'm being polite ).