Paulo Moura's Hepteto and Quarteto : "Sambajazz" as "Brazilogical Popular Instrumental Improvised Music"

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.