process of artistic transformation that redeemed a few exceptions to the general rule that the appropriation of the bossa nova involved a and watering down” of the “perversion, original form Getz, for example, had developed a product that [had been] alienated in “artistic multiple ways [and was a] refined derivative” This tortured logic revealed several things. First, the Brazilian bossa nova delineated how a valuable new hybrid might arise. Rather than plumping for a chauvinist lineonly Brazilians can perform bossa novaBerendt was “authentic” very much interested in a model of international collegiality, but one where standards of individual artistic vision were paramount. Only under these ill-defined circumstances might the categories of jazz (i.e. art) and commerce be kept apart. On the whole, Berendt continued to display a distinct discomfort with the commercial success of the bossa novaeven he presented in Berlin one of its most successful North American purveyors. A decade later, when the broad success of the bossa nova was a distant memory and jazz musicians engaged with Brazilian music in more complexand less Berendt relax a little and suggest that jazz and “popular”ways Brazilian folk music stood as intimate equals”: precisely because the trend is now over that “ “is a true of Brazilian music into the mainstream of popular music could come to pass” ‘integration’ Yet he still could not resist a snipe; earlier activities had been just a commercial fad” “basically Hence, when one was looking for ways of conceiving of intercultural musicmaking, the bossa nova might have offered a model, but in a context where hardened distinctions between ernste and persisted, it also served as a warning. Musik Unterhaltungsmusik Although Berendt’s discourse and the broader German reception of Brazilian popular music at this time were not without their problems, one ought not to dismiss his efforts. As Claus Schreiner notes, Berendt’s activities in presenting Baden Powell in concert and in producing a string of records with him in the late 1960s and 1970s promoted Powell’s career at a time when
process of artistic transformation that redeemed a few exceptions to the general rule that the appropriation of the bossa nova involved a “perversion, and watering down” of the original form Getz, for example, had developed a “artistic product that [had been] alienated in multiple ways [and was a] refined derivative” This tortured logic revealed several things. First, the Brazilian bossa nova delineated how a valuable new hybrid might arise. Rather than plumping for a chauvinist lineonly Brazilians can perform “authentic” bossa novaBerendt was very much interested in a model of international collegiality, but one where standards of individual artistic vision were paramount. Only under these ill-defined circumstances might the categories of jazz (i.e. art) and commerce be kept apart. On the whole, Berendt continued to display a distinct discomfort with the commercial success of the bossa novaeven he presented in Berlin one of its most successful North American purveyors. A decade later, when the broad success of the bossa nova was a distant memory and jazz musicians engaged with Brazilian music in more complexand less “popular”ways Berendt relax a little and suggest that jazz and Brazilian folk music stood “ as intimate equals”: “is precisely because the trend is now over that a true ‘integration’ of Brazilian music into the mainstream of popular music could come to pass” Yet he still could not resist a snipe; earlier activities had been “basically just a commercial fad” Hence, when one was looking for ways of conceiving of intercultural musicmaking, the bossa nova might have offered a model, but in a context where hardened distinctions between ernste Musik and Unterhaltungsmusik persisted, it also served as a warning. Although Berendt’s discourse and the broader German reception of Brazilian popular music at this time were not without their problems, one ought not to dismiss his efforts. As Claus Schreiner notes, Berendt’s activities in presenting Baden Powell in concert and in producing a string of records with him in the late 1960s and 1970s promoted Powell’s career at a time when
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