Brasilian

The definitive beat, sound, and style of Brasil is the samba. An ancient rhythm with roots in Africa and carnaval, it began as a propulsive "road march" beat like the conga. There are endless variations (baiao, choro, etc.) and musical purposes (sacred, secular, carnaval), but the "false beat" of samba and its variants is unmistakably Brasilian.

Melodically, the sound of Brasil is the Portuguese fado, usually a sad lament or ballad. Infused with the lively samba rhythm, Brasilian songs share some of the infectious qualities of the Afro-Cuban rumba. In each case, an African "country" rhythm has combined with a European "city" tradition. And in each case, the New-World settings, Brasil and Cuba, have added still other qualities that have helped samba adapt and evolve under the scrutiny of the world's listeners and dancers.

Bossa nova is the daybreak to samba's nocturne. Characterized by an intrinsic breeziness born of beaches and sunshine, the infectiously upbeat rhythm never fails to spoil even the most melancholy of melodies. Bossa nova is never labored, never stiff; the appearance of effortlessness and naturalness is essential. It swings, it skips rope, it avoids taking time to sleep or brood. Bossa nova washed over the U.S. recording industry in a set of waves. Jazz musicians welcomed the "cool" sound and the challenge of adapting its interesting rhythm. Top Brasilian composers ventured abroad to enjoy the fruits of their success. The lines between jazz and pop, samba and bossa nova, authentic and contrived, became blurred as record labels everywhere sought to meet insatiable demand.

Sergio Mendes launched a new, pop-vocal sound in the middle and late 1960s. Commercially, this was the last wave for both bossa nova and Brasilian music for decades, although some of the best was yet to come. Less tied to sales volume, jazz has maintained its steady embrace of bossa nova. One masterpiece and milestone of soul jazz, Horace Silver's "Song for My Father," is in fact a bossa nova. And Kenny Burrell's tremendous version of "One Mint Julep," from Lotsa Bossa Nova, made a television commercial for "Cappio" very popular. Whether stylish or substantive, lightweight or important, bossa nova continues permanently, as does its parent, the samba.

The great Brasilians who led the bossa nova movement in the United States --Jobim, Mendes, Airto, Gilberto, Wanderley, Donato, and many others-- had started as masters of the samba and in many cases piano and organ. As bossa nova crested and music in general became funkier and weirder in the early 1970s, the great arranger-composers experimented in soul jazz, electronic keyboards, overdubbing of percussion, and other extensions of their music. As with other forms of jazz, progressive creativity resulted from advances in technology plus the rediscovery of African roots.

Buying: Overlooked are 1950s LPs (often 10"), "Latin" LPs with Brasilian material (e.g. Shorty Rogers' "Bossa A-Go-Go" as arranged by Chano Scotty's organist Rubén Stéfano), field recordings, and carnaval records. Some 1960s records overlap with bossa nova and later developments, and most of the organists are excellent in any year. The usual rules apply; look for imports & top U.S. labels, such as Blue Note, Blue Thumb, Buddah, A&M/Verve/CTI.

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