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First off, there was that great lady of the Forties, Carmen Miranda, with all the fruits on
her hat singing "one, two, two ah Samba". Than there was a Disney film where I first heard
the hauntingly light samba to that great song, "Brazil".
But it wasn't until the Early Fifties upon seeing the film, "Black Orpheus" that my whole
musical appreciation outlook would completely change and mature. Jobin's and Bonfa's
mesmerizing score completely took me by surprise and has led me through an entire array of
great Brazilian musicians, composers, and singers that I am still discovering for myself as time goes on.
Then when American Jazz musicians started to find that the blending of these great
musics produced a vibrant and lasting by-product, my interest expanded. I was intrigued by
Joào Gilberto's soft and delicate approach to these wonderful and sensitive lyrics produced
by Antonio Carlos Jobim, that it made me feel good to know that producing beauty was still
possible in this world.
Later, I was taken a step further. Upon going to Carnegie Hall to see Stan Getz perform, I
was struck by the array of exotic percussion displayed on the great stage. For me, this was
going to be the first time that I was to hear and see a percussionist perform with a Jazz group
that wasn't a drummer or a Latin Percussionist. Alas, I was now turned on to Airto - and of
course a little later by Flora Purim. This was yet another direction for me with Brazilian music.
More recently, when speaking to someone at a cocktail party and the subject turned to
Brazilian music, I was quick to respond about the brilliance of Airto. It so happened that my
discussion was with someone that was a pure aficionado of this music from Samba to Bossa
Nova. He told me that if I liked Airto, I should also listen to his mentor and influence, someone
named "Hermato." Well I did. After stumbling from one record store to another, Fred Cohen's
"Jazz Record Center" in New York City had some of this incredible composer- musicians's work.
I was astounded by this man's originality and approach to music. Each time I listen to his work, I
hear something new that somehow wasn't there for me the last time I listened.
Claudio Roditi came along a little later and he promptly reminded me of Clifford Brown's
articulate and clean approach to the trumpet. When he played a composition by Ivan Lins, I
bolted and said: "Wait a minute, what the hell was that all about?" Again, I was about to discover
yet another facet of this never ending potpourri of delicious music. So I went out and bought the
only recording I could find by Ivan and became captivated by the extraordinary cadence of
melody lines that could be so hip and memorable&endash;Mind you, I don't understand a single word
of Portuguese.
Later, I would hear some of the Brazilian superstars like Gilberto Gil, Tania Maria and
the extraordinarily sensitive Milton Naciscimento whom I saw on some television program
where he told about how deeply involved he is against the rape of the environment, particularly the Amazon Jungle.
There are others that I have come to hear and appreciate through the years that I
haven't mentioned. There are many more for me to yet discover. I hear of other rhythms and
styles coming from remote regions of Brazil. I know that I must search out this music and I'm
sure that it will still leave me coming away in awe and feeling the joy, sorrow or longings that
this musical culture so richly expresses.
Ever since seeing and enjoying that Samba dancing lady with all the fruits in her hat, I
feel that I have been greatly rewarded by the enrichment of Brazilian music. I sometimes
wonder how more depressing and drabber this life would be if this music didn't exist. But it
does and I can't wait to find out who I'll discover next and what sensations and feeling he or
she will leave me with once I have sampled their sounds.