The Brazilian Sound: Samba, Bossa Nova, and the Popular Music of Brazil

Brazilian music has exponentially increased in its popularity over the decade since the last edition of "The Brazilian Sound" was published. This revised and expanded edition includes discussions of developments in samba and other key genres, the rise of female singer-songwriters in recent years, new works by established artists like Milton Nascimento and Gilberto Gil and the mixing of bossa with electronica. This clearly written and lavishly illustrated encyclopaedic survey features dozens of new entries and photographs, an extensive glossary of Brazilian music terms and more. This edition of "The Brazilian Sound" contains new discussions of: musica sertaneja and musica caipira; Brazilian funk and rap/hip-hop; electronic dance music; young contemporary musicians inspired by traditional music; the rise of new samba artists; an updated bibliography and glossary; and, a new list of Web resources.

The Brazilian Sound (3rd edition), by Chris McGowan & Ricardo Pessanha

Review by Reeves Medaglia-Miller, Ph.D.

"In Brazil, music is everywhere. You can find it in a complex rhythmic pattern beaten out by an old man with his fingers on a café table, in the thundering samba that echoes in the streets of Rio in the months prior to Carnaval, and in the bars where a guitar passes from hand to hand and everyone knows all the lyrics to all the classic Brazilian songs played late into the night." (McGowan & Pessanha, 2009, p. 3)

Ethnomusicology... sounds like a really dry subject, right? A bunch of music that I don't understand, explained to me using a bunch of new jargon from some language that I don't understand... right? Wrong. In the brilliant grasp of Chris McGowan and Ricardo Pessanha, the study of the many forms of Brazilian popular music is fascinating, intimate, and, yes, even exciting... as it should be.

I am a lifelong music educator and professor of Popular Culture studies at George Brown College in Toronto. I am always in search of texts that will inspire and stimulate my already world-weary students to learn about vital musical forms of which they are unaware, even as they consider important social justice issues such as racism, cultural appropriation, sexism, classism, and so on. I need look no further than The Brazilian Sound.

The Brazilian Sound steps into a time machine and tells a five-hundred year old story of race and of a musical tradition forged from the forced merger of the Brazilian indigenous culture with the culture of its Portuguese conquerors and, then, with the culture of some five million African slaves brought to South America between 1538 and 1850. McGowan and Pessanha explain in compelling detail how the amazing diversity of popular music styles in Brazilian music culture is as a result of both blending and coexistence of many heritages, including at least three major African traditions, and many subcultures within those larger groups.

In the telling of this story, the authors reveal that today's Brazil is undoubtedly more racially tolerant than our North America, with inequities in society being attributable more to differences in class and economic status than to colour. This, they explain, is due to Brazilians seeing race as a "fluid continuum" of identity rather than as a "bipolar" model, the black and white colour scheme prevalent in America. Notably, the authors tell us that, in part due to the enormous scale of the African slave migration, African musical traditions survive in Brazil in a much "purer form" than those found in American music. Nevertheless, McGowan and Pessanha urge the reader to consider Daniel's (1992) assertion that the ugliness of racism "...is a serious problem about which most Brazilians are in perpetual denial."

It is this kind of bravery, tempered with a delicate sensitivity, that is omnipresent in McGowan and Pessanha's fine work, and makes this book invaluable to both music educators and social justice educators. In their thorough exploration of the context of Brazilian popular music, the authors are fearless in their efforts to discuss in full view the race issues surrounding the formation of post-conquest Brazil, issues that are still clearly present in contemporary Brazilian popular music. So, The Brazilian Sound is more than a routine anthropological work, and more than an emotionless ethnographic study. It is a book that speaks frankly and passionately about both the splendid diversity and the social paradoxes of Brazil.

From the early indigenous forms, through the 18th century Portuguese modinha and the concurrent arrival of the Bantu lundu, through the venerated samba, the internationally-popular Bossa Nova tradition (the "new way"), MPB (musica popular brasileira), Brazilian rock forms, and even all the way to contemporary Brazilian electronica, McGowan and Pessanha are meticulous in their devotion to detail. In addition to a remarkable array of data and research, the authors add tremendous depth (and credibility) to The Brazilian Sound through data obtained from their personal interviews of numerous superstars from Brazilian music traditions, including Almeida, Azevedo, Bosco, Brown, Caymmi, Costa, Jobim, Lee, Mendes, Menezes, Nascimento, Porto, and da Viola.

Initially published in 1991, and then again in 1998, The Brazilian Sound is now in its 3rd ("revised and expanded") edition. The new edition adds much that was not available to listeners only a decade ago, including discussion of new works by established composers. However, it is clear that much innovation, both musical and technological, has occurred in a single decade, and McGowan and Pessanha are painstaking in their quest to get us up to speed. In each of chapters seven through nine, important 21st century additions are made to the ongoing narratives of favourite performers and emerging styles, and new millennium artists and post-modern fusion styles are introduced to the scene. In "North by Northeast," the authors provide up-to-date information on the late 90s guitarrada style, and the subsequent technobrega style, that merged Vieira's guitarrada with brega paraense. In "Brazilian Instrumental Music and Jazz," we are updated on the newer post-2000 works of established performers Malta, Vasconcelos, Purim, Santos, and Uakti, but also introduced to beautiful jazz divas Ithamara Koorax and Luciana Souza. In "Tropical Rock," we learn that much has occurred in a brief ten years, including the "world outside Brazil" discovering the rock of Os Mutantes and a partial (sans Rita Lee) reunion of the band in 2006. We learn that Rita Lee herself went on to a post-Os Mutantes triumph ("3001") in 2000, winning a Latin Grammy. We hear the sad final power chords of both RPM and Titas and cry at the death of Cassia Eller, yet witness the rise of young bands Skank, Vanguart, and Los Hermanos.

All of these essential additions would be enough to justify a revised edition of The Brazilian Sound. The authors go on to provide an additional 10th chapter, "More Brazilian Sounds," describing other important genres. There is a fascinating discussion of sertaneja and caipira, the Brazilian equivalents of our C&W and old-time country traditions. It is compelling to learn that Brazil has an indigenous tradition, a Christian music tradition, and even reggae, funk, soul and R&B, hip hop, and electronica styles, just as we have here in North America.

Yet, as promised in my introduction, The Brazilian Sound is a work that not only informs, but also excites. It is filled with exquisite guided visualizations:

"On a hot and humid summer night in Rio de Janeiro, a small stage is packed with dozens of musicians holding assorted drums and percussion instruments, engaged in an escola de samba (samba school) rehearsal. They are inside a colourful, decorated pavilion crowded with people--black, white, brown--who all have one thing in common: the samba" (McGowan & Pessanha, 2009, p. 18).

Such vividly-written passages put the reader right there, seeing the context of the music for themselves, and practically hearing it, too. In a famous Twilight Zone episode, history students marvel at their teacher's seemingly first-hand knowledge of the subject matter, and suspect that he may actually have been present at these historical events. This is the feeling one gets while reading The Brazilian Sound--it is as if the authors were there, telling firsthand their impressions of an abundance of Brazilian history, popular music styles, and cultural achievements. And then, we are reminded that it is true: at least regarding much of the music and musicians of the past few decades, McGowan (a resident of Rio de Janeiro) and Pessanha were and are there, interviewing these music titans face-to-face. Thus, we are there as well, hearing da Viola's own feelings about his beloved music and heritage, or hearing Caymmi describe in his own words his unusual guitar technique. In this respect, The Brazilian Sound is not just an exciting carnaval or a colourful escola de samba. It is a rare gift... a unique privilege.

In my view, The Brazilian Sound is much more than a textbook filled with a vast wealth of information. It is among the most energetic, essential books available in the field of music studies... a joy from começo to conclusão.

References

Daniel, G. Reginald (1992). "Multiethnic Populations in the United States and Brazil," UCLA ISOP Intercom 14, no. 7 (January 15, 1992): 1-5.

McGowan, Chris, & Ricardo Pessanha (2009). The Brazilian Sound: Samba, Bossa Nova, and the Popular Music of Brazil, revised 3rd edition. Philadelphia: Temple University Press.

great book some people that live in brazil will not admit that brazil they adopted west african culture but by the rythmes of the muisc and the costumes during the samba even look it came from africa. like capoeria is an west african fighting style brought over by african slaves, go done their and ask the whites they will not tell you this book gives a lot of information about history of brazil. but if other people like your culture they yea, will try yo steal it.

For anyone with an interest in Brazilian culture and/or music or who needs an immediate upgrade in their musical life, this book is an absolute must. It will introduce you to a host of some of the planet's best musicians and performers, most unknown north of the Amazon. The rhythms, styles and currents of Brazilian music are as diverse as any place in the world, and "The Brazilian Sound" details the origins and practices of the gamut, from bossa nova and samba, to forro, maracatu, axe, frevo, and pagode, the popular wing of samba. The 2009 edition is the best yet, expanding coverage of the pagode scene (one of my favorites) with great anecdotes and details on the Old Guard singers and modern stars like Zeca Pagodinho, and profiles of the seemingly endless crop of stellar female artists--Joyce, Marisa Monte, Vanessa da Mata, Bebel, Adriana Calcanhotta, Maria Rita. With artist interviews, great lyric excerpts (in English), details on the musical instruments (cuica to surdo to cavaquinho), coverage of all the regional musics and on-scene photos, this labor of love really does have everything you want to know about Brazilian music, which is a lot. I'm a longtime Brazilian music nut who learned a lot from this superb new edition.

A lively and well-written book, The Brazilian Sound provides a broad overview of the remarkable spectrum of musica popular brasileira, from samba, bossa nova and forro to tropicalia, choro and Brazilian rock. It takes us on a journey both through the evolution of Brazilian music and the history of Brazil, and places artists like Jobim within a cultural context that helps us appreciate their music all the more. One comes away with a solid grasp of the major artists and genres of Brazilian music, as well as their impact on the "North American Sound." There is an extensive glossary at the end that is worth the price of the book alone, and an exhaustive discography.

The authors succeed in bringing the music to life, whether they are conveying the playfulness of the choro musical style, placing the reader at an Olodum concert in Salvador, or describing a samba-school rehearsal on a "hot and humid night in Rio de Janeiro." For the latter, they write, "Surdos (bass drums) pound out a booming beat, and their incessant drive provides the foundation for the rest of the bateria, the drum-and-percussion section that will later parade triumphantly during Carnaval. Snare drums called caixas rattle away in a hypnotic frenzy, and above them tamborins (small cymbal-less tambourines that are hit with sticks) carry a high-pitched rhythmic phrase like popcorn in an overheated pot. Enter the sad cries and humorous moans of the cuica (friction drum), the crisp rhythmic accents of the reco-reco (scraper), and the hollow metallic tones of the agogo (double bell). Other percussion instruments add more colors, the ukelele-like cavaquinho adds its high-register plaintive harmonies, and the puxador (lead singer) belts out the melody...." Such vivid and elaborate descriptions helped me make sense of the wall of sound that is samba, and made me want to book the next flight to Rio de Janeiro for Carnaval.

The second edition adds more historical information and brings the book up to date with musical developments in the `90s. There is extensive additional information about the origins of capoeira (the Brazilian martial art which is accompanied by music in training and which is gaining increasing popularity all over the world), and about racial issues in Brazil as reflected in popular music. There are new profiles of contemporary artists such as Marisa Monte, Nacao Zumbi, Karnak, Daude, Chico Cesar, Daniela Mercury, Timbalada, and Carlinhos Brown. The descriptions of Bahian percussionist-songwriter Carlinhos Brown's collaboration with Sergio Mendes (on the 1992 album Brasileiro) and his groundbreaking 1996 solo album Alfagamabetizado are especially memorable. This is a classic study of Brazilian music, a must for any world-music aficionado.

The best book about Brazilian music in English, The Brazilian Sound: Samba, Bossa Nova, and the Popular Music of Brazil is a beautifully written, in-depth guide to samba, bossa, choro, forró, maracatu, and other Brazilian genres. The 2009 edition, the book's third, upgrades an already invaluable musical resource, and adds background about popular contemporary styles like funk carioca (including its "proibidão" banned form), música sertaneja (Brazilian country music), electronic-dance music, Brazilian rap, and a wave of talented new MPB female singer-songwriters. There is a section on the music of Belém in the north (carimbó, technobrega, guitarrada), which has received scant coverage inside or outside of Brazil. And McGowan and Pessanha introduce a wide range of new stars, such as Bebel Gilberto, Lenine, Marcelo D2, Ana Carolina, Yamandú Costa, Hamilton de Holanda, Ivete Sangalo, Banda Calypso, MV Bill and Fernanda Porto, who have gained fame since the book's last version. This adds to already existing descriptions of venerable figures like Pixinguinha, Antonio Carlos Jobim, João Gilberto, Milton Nascimento, Gilberto Gil, Caetano Veloso, Elis Regina, Marisa Monte, Sergio Mendes, and Hermeto Pascoal. The music is richly described, in both musical and cultural terms. One gets a vivid sense of how it sounds, and a clear understanding of its rhythmic, harmonic and melodic ingredients. "The Brazilian Sound" brings to life both the current and past greats of Brazilian music. I can't recommend this book highly enough.