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This article is a brief ethnography of Brazilian instrumental popular music, termed música instrumental in Brazil, which is known in the international universe of jazz as Brazilian jazz. 1 I intend to focus on Brazilian jazz as a musical genre of Brazilian popular music and not as a national adaptation of jazz, as well as search for its main characteristics and socio-cultural nexus in contrast with North American jazz.
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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.
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