Paulo Moura’s Hepteto and Quarteto
‘Sambajazz’ as ‘Brazilogical popular instrumental improvised music’
DOI:
https://doi.org/10.1558/jazz.v10i1-2.28347Keywords:
improvisation, jazz, popular music, Paulo Moura, sambajazzAbstract
As with American and other well-documented global jazz iterations, the presence of jazz in Brazil may be seen in the context of a story that includes or even initiates from local, regional and national trends in popular and improvised music. This long and complex history seems to require a descriptive label that is more nuanced, and in fact, more based on an equivalency of contribution than the Americo-centric ‘Brazilian jazz’. Through a case study of Paulo Moura’s recordings of 1968–69, this article considers the transmission, appropriation, invention and circulation of musical style and language. Following the work of George E. Lewis and David Ake, the possibility of identifying and defining a particular Brazilian set of approaches to this process is contemplated.
References
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Menezes Bastos, Rafael José de (2008) ‘Brazil in France 1922: An Anthropological Study of the Congenital International Nexus of Popular Music’. Latin American Music Review 29/1 (Spring/Summer): 1–28. http://dx.doi.org/10.1353/lat.0.0003
Monson, Ingrid (1996) Saying Something: Jazz Improvisation and Interaction. Chicago: University of Chicago Press.
——(1998) ‘Oh Freedom: George Russell, John Coltrane, and Modal Jazz’. In In the Course of Performance: Studies in the World of Musical Improvisation, ed. Bruno Nettl and Melinda Russell, 149–68. Chicago: University of Chicago Press.
Moura, Paulo (2008) Personal communication (interview), 9 July 2008.
Piedade, Acácio Tadeu de Camargo (2003) ‘Brazilian Jazz and Friction of Musicalities’. In Jazz Planet, ed. E. Taylor Atkins, 41–58. Jackson: University Press of Mississippi.
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Saraiva, Joanna Martins (2007) ‘A invencão do sambajazz: discursos sobre a cena musical de Copacabana no final dos anos de 1950 e início dos anos 1960’. Dissertação de mestrado. Rio de Janeiro: Departamento de História da PUC.
Silva, Robertinho (2014) Personal communication (interview), 4 April 2014.
Spielmann, Daniela (2008) ‘Tarde de Chuva: A Contribuição Interpretativa de Paulo Moura Para o Saxofone no Samba-Choro e na Gafieira, a Partir da Década de 70’. Master’s dissertation. Rio de Janeiro: Universidade Federal do Estado do Rio de Janeiro.
Stam, Robert (1999) ‘Palimpsestic Aesthetics: A Meditation on Hybridity and Garbage’. In Performing Hybridity, ed. May Joseph and Jennifer Natalya Fink, 59–78. Minneapolis, MN: University of Minnesota Press. http://www.jstor.org/stable/10.5749/j.ctttsz3v (accessed 24 July 2015).
Stanyek, Jason. 2011. ‘“A Thread that Connects the Worlds”: Ovoid Logics and the Contradictory Lines of Force of Brazilian Improvisations’. Critical Studies in Improvisation 7/1. http://www.criticalimprov.com/article/view/1489 (accessed 9 July 2014).
Tiso, Wagner (2012) Personal communication (interview), 2 March 2012.
Waters, Keith (2011) The Studio Recordings of the Miles Davis Quintet, 1965–68. New York: Oxford University Press. http://dx.doi.org/10.1093/acprof:osobl/9780195393835.001.0001
Williams, Katherine (2011) ‘Valuing Jazz: Cross-Cultural Comparisons of the Classical Influence in Jazz’. Doctoral thesis, University of Nottingham.
Alves, Luiz (2015) Personal communication (interview), 24 February 2015.
Berliner, Paul (1994) Thinking in Jazz: The Infinite Art of Improvisation. Chicago: University of Chicago Press. http://dx.doi.org/10.7208/chicago/9780226044521.001.0001
Celerier, Robert (1963) ‘Jazz e Bossa Nova’. In Correio de Manhã, Section 4, p. 3. Rio de Janeiro. http://memoria.bn.br/DocReader/docreader.aspx?bib=089842_07&PagFis=35954 (accessed 5 February 2016).
Ernest Dias, Andrea (2010) Mais ‘Coisas’ Sobre Moacir Santos, ou os Caminhos de um Músico Brasileiro. Doctoral thesis. Salvador: Universidade Federal da Bahia.
Grynberg, Halina (2015) Personal communication (email), 30 April 2015.
Hood, Mantle (1960) ‘The Challenge of “Bi-Musicality”’. Ethnomusicology 4/2 (May): 55–59. http://www.jstor.org/stable/924263 (accessed 7 July 2011). http://dx.doi.org/10.2307/924263
Keil, Charles (1987) ‘Participatory Discrepancies and the Power of Music’. Cultural Anthropology 2/3: 275–83. http://dx.doi.org/10.1525/can.1987.2.3.02a00010
Kramer, Micaela (2011) ‘Ambivalence, Paradox and the Poison-Remedy of Brazilian Improvisation: A Conversation with José Miguel Wisnik’. Critical Studies in Improvisation 7/1. http://www.criticalimprov.com/article/view/1367 (accessed 9 July 2014).
Lewis, George E. 2004. Afterword to ‘Improvised Music after 1950: The Changing Same’. In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, ed. Daniel Fischlin and Ajay Heble, 163–72. Middletown, CT: Wesleyan University Press.
Medeiros, Jotabé (2011) ‘Na Cabeça de Wayne Shorter’. Estado do São Paulo, 13 May. http://cultura.estadao.com.br/noticias/musica,na-cabeca-de-wayne,718446 (accessed 6 November 2015).
Meirelles, Pascoal (2012) Personal communication (interview), 2 February 2012.
Menezes Bastos, Rafael José de (2008) ‘Brazil in France 1922: An Anthropological Study of the Congenital International Nexus of Popular Music’. Latin American Music Review 29/1 (Spring/Summer): 1–28. http://dx.doi.org/10.1353/lat.0.0003
Monson, Ingrid (1996) Saying Something: Jazz Improvisation and Interaction. Chicago: University of Chicago Press.
——(1998) ‘Oh Freedom: George Russell, John Coltrane, and Modal Jazz’. In In the Course of Performance: Studies in the World of Musical Improvisation, ed. Bruno Nettl and Melinda Russell, 149–68. Chicago: University of Chicago Press.
Moura, Paulo (2008) Personal communication (interview), 9 July 2008.
Piedade, Acácio Tadeu de Camargo (2003) ‘Brazilian Jazz and Friction of Musicalities’. In Jazz Planet, ed. E. Taylor Atkins, 41–58. Jackson: University Press of Mississippi.
Rohter, Larry (2012) Brazil on the Rise: The Story of a Country Transformed. New York: Palgrave Macmillan.
Saraiva, Joanna Martins (2007) ‘A invencão do sambajazz: discursos sobre a cena musical de Copacabana no final dos anos de 1950 e início dos anos 1960’. Dissertação de mestrado. Rio de Janeiro: Departamento de História da PUC.
Silva, Robertinho (2014) Personal communication (interview), 4 April 2014.
Spielmann, Daniela (2008) ‘Tarde de Chuva: A Contribuição Interpretativa de Paulo Moura Para o Saxofone no Samba-Choro e na Gafieira, a Partir da Década de 70’. Master’s dissertation. Rio de Janeiro: Universidade Federal do Estado do Rio de Janeiro.
Stam, Robert (1999) ‘Palimpsestic Aesthetics: A Meditation on Hybridity and Garbage’. In Performing Hybridity, ed. May Joseph and Jennifer Natalya Fink, 59–78. Minneapolis, MN: University of Minnesota Press. http://www.jstor.org/stable/10.5749/j.ctttsz3v (accessed 24 July 2015).
Stanyek, Jason. 2011. ‘“A Thread that Connects the Worlds”: Ovoid Logics and the Contradictory Lines of Force of Brazilian Improvisations’. Critical Studies in Improvisation 7/1. http://www.criticalimprov.com/article/view/1489 (accessed 9 July 2014).
Tiso, Wagner (2012) Personal communication (interview), 2 March 2012.
Waters, Keith (2011) The Studio Recordings of the Miles Davis Quintet, 1965–68. New York: Oxford University Press. http://dx.doi.org/10.1093/acprof:osobl/9780195393835.001.0001
Williams, Katherine (2011) ‘Valuing Jazz: Cross-Cultural Comparisons of the Classical Influence in Jazz’. Doctoral thesis, University of Nottingham.
Published
2016-07-25
Issue
Section
Articles
How to Cite
Korman, C. H. (2016). Paulo Moura’s Hepteto and Quarteto: ‘Sambajazz’ as ‘Brazilogical popular instrumental improvised music’. Jazz Research Journal, 10(1-2), 153-187. https://doi.org/10.1558/jazz.v10i1-2.28347
