by | October 13, 2024 · 6:00 am

Sergio Mendes and Brasil ’66

Brazilian pianist and bandleader Sergio Mendes began studying piano at a young age, continuing his education under Carmelita Lago. However, drawn to jazz and popular music, he eventually departed from his classical training and embarked on a successful career in commercial pop music around 1960. Mendes participated in jam sessions at the Little Club in Rio de Janeiro and, in 1961, led the Brazilian Jazz Sextet at the Third South American Jazz Festival in Montevideo. Following the military coup d’état in Brazil in 1964, Mendes relocated to Los Angeles, where he restarted his career by auditioning at various local jazz clubs.

That same year, Mendes, along with bassist Tião Neto and drummer Edson Machado, formed the Sergio Mendes Trio, touring North and South America as well as Japan. In the United States, the trio recorded the groundbreaking LP The Swinger from Rio for the Atlantic label. Mendes also created another group called Brasil 65, which lasted for seven months and produced the LP Brasil 65. He later achieved international acclaim with his next ensemble, Brasil ’66. While in New York, Mendes collaborated with renowned musicians such as Art Farmer, Bud Shank, and Tom Jobim on new bossa nova recordings. For this new group, he secured a contract with Herb Alpert, the leader of Tijuana Brass and owner of A&M Records.

Alongside singers Lani Hall, Sílvia Vogel, and later Karen Phillips, Mendes recorded the album Sergio Mendes & Brazil ’66, which sold over a million copies. Their vibrant cover of Jorge Ben‘s song Mas que nada became a number one hit, with other tracks from the album also climbing into the top 40 charts. To align with U.S. market preferences, Mendes produced stylistic arrangements of Brazilian songs by composers like Chico Buarque, Edu Lobo, and Gilberto Gil. The following year, his group ranked as the third most popular act in U.S. pop music. Each decade brought updates to his ensemble’s name and style: Brasil ’77, Brasil ’86, Brasil ’88, and Brasil ’99. The stylistic evolution of these groups spanned from early bossa nova in the 1960s to more sophisticated interpretations of well-known songs, culminating in an experimental blend of jazz, funk, and modern Brazilian pop. Mendes won a Grammy Award in 1993 for the album Brasileiro, and in 1997, Down Beat magazine honored his album Ocean as the best album of the year in the “beyond jazz” category.

Sergio Mendes passed away on 5 September 2024 at the age of 83. Read more a out his life and career in MGG Online.

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by | October 10, 2024 · 6:00 am

Emotionality, music, and mental health

Recent research on personality indicates that trait negative emotionality, often referred to as neuroticism, is linked to how young people use music for emotional regulation. This suggests that those with higher levels of neuroticism may turn to music as a way to manage their emotions. However, the emotional factors that connect neuroticism, musical emotion regulation, and mental health remain unclear. Investigating both adaptive and maladaptive forms of musical emotion regulation has revealed potential strategies to mitigate the adverse effects of neuroticism on internalizing symptoms, such as depression and anxiety, in youth.

A study involving 1,137 college undergraduate students aged 17 to 21 identified four forms of emotion regulation related to music listening—rumination, discharging negative emotions, avoidant coping, and a preference for sad music—that may mediate the impact of neuroticism on internalizing symptoms. These findings remained robust even after controlling for general (non-musical) emotion regulation and coping strategies. Overall, the research integrates four complementary perspectives on neuroticism and musical emotion regulation: deductive (from mainstream psychology), inductive (from music psychology), musical coping with stress, and negative trait-congruence (the idea that a preference for sad music reflects negative emotionality). The study also highlighted the potential link between neuroticism and problematic musical emotion regulation strategies, which are often associated with symptoms of depression and anxiety in young people.

This according to “Neuroticism, musical emotion regulation, and mental health” by Dave Miranda (Psychomusicology: Music, mind and brain 31/2 [2021] 59–73; RILM Abstracts of Music Literature, 2021-8687).

October 10 is World Mental Health Day.

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by | October 5, 2024 · 6:00 am

La Argentina in the Philippines

In February 1929, the Spanish dancer Antonia Mercé Luque, better known as La Argentina, arrived in the Philippines during her groundbreaking international tour. This pioneering journey marked a significant expansion of Spanish dance, introducing it to traditional stage circuits across the Americas as well as cities in Asia and Oceania. The Philippines, a former Spanish colony, represents a particularly intriguing case for analyzing the impact of her work. During her visit, La Argentina honored Philippine culture by creating a piece inspired by the cariñosa–a traditional Spanish colonial dance–which she subsequently integrated into her international repertoire.

La Argentina’s brief visit to Manila and the creation of her solo piece, La cariñosa, highlight how early 20th-century Spanish dance served as a colonial gesture, presenting Spanish dance as both a colonizing force and one that was itself influenced by colonial contexts. This solo stylized the Filipino national dance for Western audiences, ostensibly paying tribute to the Filipino people. However, it also obscured a deeper colonial power dynamic, framing the performance in the context of a shared Hispanidad—a constructed cultural policy that promoted a fictive unity in the postcolonial Philippines.

Stills from footage of a 1929 performance of the Philippine cariñosa by La Argentina in Manila.

Like her earlier Latin American tour, La Argentina’s Asian tour should be viewed in the context of other contemporary Western dancers who were effectively conducting a type of fieldwork. Many of these dancers sought artistic and documentary inspiration from cultures considered exotic to Western audiences, primarily drawing from influences in India and Southeast Asia, as well as Indigenous American traditions. By the time La Argentina arrived in the Philippines, her artistic vision had already gained legitimacy within the dominant circles of Western culture. Her critical and public success, especially after founding her company, Les Ballets Espagnols–a name that mirrored Diaghilev’s Ballets Russes–in the autumn of 1927, further elevated her status. The acclaim she received from her peers further solidified her position as the foremost international exponent of Spanish dance.

This according to “Antonia Mercé ‘La Argentina’ in the Philippines: Spanish dance and colonial gesture” by Idoia Murga Castro (Dance research journal 54/3 [2022] 45–67; RILM Abstracts of Music Literature, 2022-16064).

Below is a performance of the cariñosa folk dance of the Philippines.

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by | October 2, 2024 · 6:00 am

Kris Kristofferson’s life in music

Kris Kristofferson stands out as one of the few entertainers to carve out distinct careers in both music and acting. A former Rhodes scholar, he became a celebrated songwriter and performer, while also establishing himself as a prominent actor in the late 1970s. Ironically, despite his success with best-selling singles and albums, he seldom sang in his film roles, which primarily showcased his dramatic talents. Throughout the years, Kristofferson faced personal challenges but consistently found ways to reinvent his career in the entertainment industry. He played a pivotal role in revitalizing Nashville’s stagnant country music scene of the early 1970s with his innovative songs and performances. Additionally, he garnered critical acclaim, receiving the Best Actor award from the Foreign Press Association for his performance in the musical A Star Is Born (1976).

Born in Brownsville, Texas, on June 22, 1936, Kristofferson learned to play guitar in high school, and at Pomona College in Claremont, he excelled in both athletics–competing in football, soccer, and boxing–and academics. A talented writer, he won four short story contests hosted by Atlantic Monthly and earned a Rhodes scholarship to Oxford University, where he studied the works of William Blake. However, after several of his books went unpublished, Kristofferson became disillusioned with academia and turned to songwriting, performing in England under the name Kris Carson.

Kristofferson on Johnny Cash’s variety show.

The mid- and late 1960s proved to be challenging years for Kristofferson. He juggled jobs as a janitor at Columbia Records by night and a bartender at the Tally Ho Tavern by day, all while promoting his songs. Despite the hardships, he remained determined to push his material. In the summer of 1969, Roger Miller scored a hit with Kristofferson’s Me and Bobby McGee, which also became a popular track for Janis Joplin. That same year, Kristofferson gained recognition with a successful performance at the Newport Folk Festival and made multiple appearances on Johnny Cash’s ABC TV variety show. His career began to gain momentum as he signed a record contract with Monument, and his songs were picked up by artists like Ray Price, Jerry Lee Lewis, and Ronnie Milsap. Additionally, a successful engagement at the Troubadour in Los Angeles during the summer of 1970 solidified his reputation as a nightclub attraction.

Kris Kristofferson passed away on 28 September 2024. Read his full bio in Hollywood songsters: Singers who act and actors who sing—A biographical dictionary (2003). Find it in RILM Music Encyclopedias.

Listen to a performance of The silver tongued devil and I below.

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by | September 28, 2024 · 6:00 am

Jazz in India

Arriving in India in the mid-1930s in search of performance opportunities and a better quality of life, African American jazz musicians significantly contributed to the growth of jazz and Western popular music in the country. In 1935, Bombay’s premier hotel, the Taj Mahal, hired the first all-African-American jazz band to play in India. The eight-member band, led by Leon Abbey, a violinist from Minnesota, included a host of experienced musicians who had performed alongside jazz legends. Their success and influence attracted local Anglo-Indian and Goan musicians, who began to perform jazz in the cosmopolitan centers of India. In Bombay, Goan musicians incorporated Western popular music into local cabaret performances and even into early film songs. In this context, African American musicians played a pivotal role in broadening the landscape of Western popular music in India, shaping early Bombay cabaret songs and the hybrid sounds of the emerging film industry.

Goan jazz musician Rudy Cotton.
Members of Duke Ellington’s orchestra in India with tabla player Chatur Lal.

The presence of jazz orchestras in Bombay during the 1940s and 1950s highlighted various historical connections. These orchestras supplied essential musical resources for creating cabaret scenes in Hindi-language films. African American jazz musicians residing in India inspired local musicians to join urban jazz orchestras, which led to the development of a vibrant jazz cabaret economy. This economy was centered around recording in film studios, collaborating with film music composers, performing as backdrop dance bands in movies, and engaging in ghost composing and arranging.

Furthermore, ragtime and jazz were performed in Calcutta’s hotels and clubs, which were vital to the social lives of the elite during colonial India. While the musicians were often European or American, especially when foreign bands were brought in for a season, some ensembles included Anglo-Indian members. These Anglo-Indian musicians served as intermediaries, transmitting theoretical knowledge of Western harmony and teaching the use of Western instruments to subsequent generations of musicians in post-independence India. They were also the first Indian musicians to perform jazz and blues standards in Calcutta and Bombay around World War II, playing a significant role in the spread of jazz and blues music throughout the country.

This according to “Orchestras and musical intersections with regimental bands, blackface minstrel troupes, and jazz in India, 1830s–1940s” by Bradley G. Shope, Global perspectives on orchestras: Collective creativity and social agency, ed. by Tina K. Ramnarine (New York City: Oxford University Press, 2017, 226–241; RILM Abstracts of Music Literature, 2017-33724), and “Jazz and race in colonial India: The role of Anglo-Indian musicians in the diffusion of jazz in Calcutta” by Stéphane Dorin (Jazz research journal 4/2 [November 2010] 123–140; RILM Abstracts of Music Literature, 2010-19314).

Also, visit the online exhibit Finding the groove: Pioneers of jazz in India 1930s-1960s. The exhibit is based on archival materials collected by Naresh Fernandes at the Archive and Research Center for Ethnomusicology (ARCE).

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by | September 25, 2024 · 6:00 am

Youssou N’Dour, cultural ambassador for African music

The Senegalese singer, songwriter, musician, and politician Youssou N’Dour was born just six months before Senegal achieved independence. His mother hailed from a long line of griots, or gawlo, who served as hereditary musicians and custodians of oral history in traditional Senegalese culture. In contrast, his father, who did not come from a griot background, discouraged him from pursuing a career in music. Nevertheless, at the age of 12, Youssou began performing at local events, including kassaks (circumcision ceremonies) and ngentes (baptisms). By 13, he had his first major public performance with the song M’Ba, marking the start of his professional singing career.

For a brief period, N’Dour attended the École des Arts but quickly lost interest in classical Western music education. In 1975, he joined Ibrahim Kassé’s Star Band, the house band at the popular nightclub Le Miami. After two years, he left the band along with several other members to form a new group, Étoile de Dakar, in 1977. In 1984, Youssou N’Dour was invited to perform in Paris alongside the Ghanaian-English band Osibisa on April 4th, celebrating Senegalese Independence Day before an audience of 12,000 at the Espace Bala. Among the attendees was British rock musician Peter Gabriel, who was so captivated by N’Dour’s voice that he later traveled to Dakar to meet him.

N’Dour performs Nelson Mandela on his 1987 tour with Peter Gabriel.

In 2012, N’Dour declared his candidacy for the Senegalese presidential elections. His song Fekke ma ci boole became an anthem for his political campaign. Although he was ultimately disqualified from the election due to alleged irregularities with his signatures, his candidacy played a crucial role in uniting the opposition. In addition to his political endeavors, N’Dour has received numerous honors for his musical and humanitarian work, being appointed as a UNICEF Goodwill Ambassador in 1991 and a FAO Global Goodwill Ambassador in 2000. In a recent interview, N’Dour spoke of music’s power to bring people together. According to him, “When you’re a musician you speak a universal language that overcomes divisions and [can] bring people together, remind them of our common humanity and promote understanding and solidarity. Music is a melody and a word that can speak of love, friendship, peace, and subjects that concern us all, such as the environment and immigration – subjects that we all experience in our daily lives. Also, throughout my career, I’ve always been open to world cultures while putting an African stamp on them.”

Read the new entry on Youssou N’Dour in MGG Online.

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by | September 21, 2024 · 6:00 am

The voice of el pueblo

The Mexican singer-songwriter Amparo Ochoa is considered one of the most remarkable and versatile performers of the Mexican canto nuevo movement (related to nueva canción). Born in Culiacán in 1946, Ochoa grew up singing at various school events and with her father. She later taught in rural grade schools in her home state where songs were an essential part of her teaching. Her deep connection with Mexican and Latin American audiences is often expressed through her innate charm. This sense of popularity is not only rooted in the political messages of the songs she performed but also in the influential platforms where she showcased her talent.

The widespread perception of her voice as representative of the people is rooted in the rich vocal traditions of early 20th century Mexican musical theater, which evolved throughout the century and were recontextualized during the Latin American Cold War. These vocal strategies, deeply impactful on listeners, shaped their understanding of el pueblo and fostered sympathy for movements opposing dictatorial regimes in the 1970s and 1980s. This interpretation of her voice foregrounds the role of music and song in the ideological and political frameworks of the time and expresses how the emotional resonance of her voice influenced listeners’ subjectivity.

Celebrate Hispanic Heritage Month by reading “La voz del pueblo y para el pueblo” Amparo Ochoa’s vocal trajectory: From the Mexican Revolution to the Latin American Cold War” by Natalia Bieletto Bueno (Journal of interdisciplinary voice studies 5/1 [2020] 9–28; RILM Abstracts of Music Literature, 2020-72069).

Below is a video of Ochoa performing the song A que te tiras cuando sueñas mexicano on a Mexican television program.

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by | September 18, 2024 · 6:00 am

Between kampung and puri in Bali

Indonesian Balinese Muslim communities, or kampung, have developed distinctive performing arts nurtured through their social and cultural interactions with their Hindu rulers and neighbors. Each kampung has its unique history and ancestral roots but generally maintains special and interdependent connections with the regional Balinese nobility, centered around the royal palaces, or puri. The puri provides authentication, social recognition, and financial support to the kampung, while the kampung contribute through their skills, loyalty, and specific knowledge, including labor. These relationships have persisted for centuries, deeply influencing Muslim Balinese cultural practices, particularly their performing arts traditions.

A Balinese dance performance.

Muslim Balinese performing arts have long emphasized the historical, social, and cultural interplay between puri and kampung, with examples from eastern and southern Bali. The puri often offer performance opportunities for Muslim Balinese, allowing them to express their cultural identity and strengthen their community presence. In turn, the puri benefit from showcasing their power and history through these performances. Thus, the performing arts not only sustain these reciprocal relationships but also enhance social cohesion within the neighborhood and foster a unified local community.

This according to “Performing arts as a cultural bridge between Hindu rulers and Muslim communities in Bali” by Ako Mashino, Performing arts and the royal courts of Southeast Asia II: Pusaka as documented heritage, ed. by Mayco Santaella (Leiden: Brill, 2024, 45–68; RILM Abstracts of Music Literature, 2024-3868).

The video below shows a royal wedding ceremony held at a Balinese puri.

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by | September 14, 2024 · 6:00 am

Brahms and Chrysander

With the assistance of the Cultural Foundation of the German Federal States, the State and University Library of Hamburg (SUB) has acquired 44 handwritten letters and postcards from Johannes Brahms to Friedrich Chrysander, 33 of which were previously unknown. The documents were in the possession of descendants of Chrysander, who was a pioneering musicologist and Handel researcher, and deal with, among other topics, the collaboration between him and Brahms on the complete edition of Handel’s works. The Brahms archive within the SUB is one of the four largest Brahms collections in the world.

In addition, the SUB acquired, again with support from the Cultural Foundation, a manuscript score with the choruses from Handel’s oratorio Messiah in a previously unknown German translation. The Messiah was premiered in English in Dublin in 1742; performances with German-language texts only took place in Germany from the 1770s onwards. These spectacular documents of music history were purchased at auctions in London, Handel’s long-time place of work, and have now been transported to Hamburg, the birthplace of Johannes Brahms.

This according to MGG Online.

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by | September 11, 2024 · 6:00 am

Front 242’s electronic body music

The Belgian band Front 242 was formed in 1981 by programmers Patrick Codenys and Dirk Bergen. The lineup expanded a year later with the addition of Daniel Bressanutti (Daniel B. Prothese) and vocalist Jean-Luc De Meyer. Drawing initial inspiration from Kraftwerk and Throbbing Gristle, their music is known for its hard-hitting rhythms and pure electronic sounds, making it instantly danceable. This innovative approach led to the creation of a new musical genre: electronic body music (EBM). Front 242’s groundbreaking albums have significantly influenced a host of subsequent bands.

In 1982, Front 242 released their debut single and album, Geography. By 1984, with the release of the EP No Comment, the band’s sound took a harder edge, setting them apart from the burgeoning synthpop scene and establishing their distinctive sonic landscapes. By 1987, Front 242 had gained a record contract in the U.S. through Chicago’s Wax Trax! Records, which featured a diverse roster of mostly European aggressive synthesizer acts later lumped together under the term “industrial rock”. The U.S. market, at this point, appeared ready for Front 242’s brand of innovative electronic music. The following year, they released their third LP, Front by Front.

The band quickly attracted the attention of major labels and signed with Sony/Epic Records. Their single Tragedy for you received immediate promotion on MTV, but some fans of their earlier work did not take to their new major label sound. By 1991, Front 242, along with Ministry and Skinny Puppy, became key figures in a global industrial music movement. During this period, they released two albums that marked a significant departure from their earlier style, leading to a split with some longtime fans. In 1995, Jean-Luc De Meyer left the band to focus on his solo project, Cobalt 60, but Front 242 reunited the following year and embarked on a world tour. In describing advice he would give to other electronic musicians, Patrick Codenys says,

“Use your human abilities and your senses; think about what you want to achieve and construct before you are taken by the technology. Electronic music can be very mental, even conceptual. Each album needs a philosophy. Research how to program because it is also a big part of how you will use the creative tools like synths and production to serve your artistic ideas.”

This according to Das Gothic- und Dark Wave-Lexikon: Das Lexikon der schwarzen Szene (2003). Find it in RILM Music Encyclopedias.

Now in their fourth decade of existence, Front 242 are on their final tour performing in Mexico, the United States, and Europe beginning in March 2024 and ending in their hometown of Brussels, Belgium in January 2025. Below is their video for Tragedy for you, a song that some say signaled the end of the 1980s EBM era.

Read a related Bibliolore post:

Skinny Puppy’s last rights

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