A very palpable sense of surprise was what many of us experienced when U.S. Whether polishing off another set of reverential Bossa standards, reveling in the rhythmically brash Samba Jazz instrumental variant, delving into the realm of the folkloric-chamber music hybrid known as Choro, tuneful MPB (sophisticated ballad-style Brazilian Popular Music), or the appropriation of Samba, Forró, Frevo, and other elemental styles, virtually all of the recent releases lack one critical element: a sense of surprise. What they will discover, in most cases, is that today's crop of Brazilian music interpreters remains willing captives to the set-in-stone stylistic parameters that have been around for decades. Currently, a flood of new releases challenges listeners to tune in and see what's been cooking. The allure of Brazil-rooted sounds remains undiminished if not as feverish as it was in the early 1960s when Bossa Nova was at its peak of popularity. The passing decades have seen other Brazilian styles and artists emerge and attain some degree of international acclaim. The singer and guitarist, partnering with composer Antonio Carlos Jobim, announced the arrival of a distinctly new style with his 1958 recording of Jobim's "Chega de Saudade," and the new Brazilian sound, dubbed Bossa Nova (the "New Thing," among other translations), quickly captured worldwide attention. Part 1 | Part 2 | Part 3 The recent passing of Brazilian music icon Joao Gilberto at the age of 88 invites us to reflect on the music revolution he was influential in sparking over six decades ago.
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