The story of Afro-Brazilian percussionist Naná Vasconcelos
stitches together histories of 1960s-1980s jazz, psychedelia, world
music, experimentalism and post-punk. Based in Recife, Rio de
Janeiro, New York City and Paris, Naná played with musicians as
varied as Egberto Gismonti, Don Cherry, Pat Metheny, Ralph Towner,
Arto Lindsay, Talking Heads, Laurie Anderson, Paul Simon, Jon
Hassell, Brian Eno, Os Mutantes, and Milton Nascimento. This book
traces the 15 years (1964-1979) leading up to Naná's Saudades
(1979, ECM), an album evoking his sonic memories of Brazil that he
recorded while in Germany. Saudades features berimbau, a
one-stringed instrument that looks like a bow and arrow, alongside
onomatopoetic vocals and the strings of the Radio Symphony
Stuttgart. Daniel B. Sharp hears Naná's playing as a
counterargument against dishonest notions of the primitive just as
world music emerged as a genre. With a gourd, a stick, a wire, a
wicker basket, and a stone, Naná made music as complex and
contemporary as the ARP synthesizers in vogue at the time.
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