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O definitivo bate, som, e estilo de Brasil
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Posted by
Anonymous
Tuesday, July 15, 2003
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Brasil is by far South America's largest country, and with over 150 million people, it is also the world's sixth most populous nation. In a way, though, Brasil is like half a dozen different countries, and more, ranging from African-influenced Salvador de Bahia, the tropical Amazon delta, the New-York-esque megalopolis of S?o Paulo, the desert expanses of Brasil's Northeast, the European-influenced south, and more. A country famous for its samba, bossa nova, and lambada, Brasil boasts more than 100 distinct styles, as well as an equally lengthy history.
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.
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Re: O definitivo bate, som, e estilo de Brasil
(Score: 1)
by Henry (outer_real@yahoo.com)
on Jul 15, 2003 - 08:34 AM
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Fascinating. But its a pity that the ambiance in the picture is unbalanced according to equal opportunities.
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