Inquietação: Laurindo Almeida e a relação de confluência entre o jazz e a música popular do Brasil no período entre 1953 e 1963

Abstract

This study investigates how the rhythmic approach of Brazilian guitarist Laurindo Almeida, considered one of the forerunners of bossa nova, may have contributed to the rhythmic conception of João Gilberto’s guitar style. It also examines whether, after bossa nova had established itself as a distinct genre, it impacted Almeida's later performances, without disregarding the historical, social, and geographical context in which the musician was immersed. The study further highlights the presence of cultural hybridity, evidenced by similar nuances and references. Analyses are presented of songs from the albums Brazilliance, Stan Getz with Laurindo Almeida, and O amor, o sorriso e a flor considering the confluence between jazz and bossa nova during the period from 1953 to 1963, particularly regarding the guitar accompaniment featured on these recordings. Without seeking to assign value judgments, establish hierarchies between styles, or identify a "paternity" for bossa nova – nor to diminish João Gilberto’s significance – this paper aims to understand this process in a broad and critical way, as a two-way street marked by mutual influences and transformations.