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Nana Vasconcelos NANÁ VASCONCELOS WITH TRIO MANARI Evening Concert Naná Vasconcelos Friday, 9:00 p.m. The Voice of the Berimbau BY GREG BEYER aná Vasconcelos is one of Brazil’s Robinson published “The Nature of Naná” at Carnaval time. The deep sounds of most famous percussionists, and is in Modern Drummer, roughly coinciding those drums, like thunder, have stayed Nprobably the world’s most famous with Naná’s departure from New York with me and have influenced a lot of my virtuoso of the berimbau. His musical career and relocation to Recife. In that insightful instrument choices. I have a lot of low spans over five decades, and the list of mu- interview, Naná points to the berimbau as sounds—the gong, the talking drum, the sicians with whom he has collaborated and the instrument that has guided his musi- berimbau…this thing about the drone, recorded is enormous. His most famous cal development and career: “Everything the OM. [Naná begins intoning, “OM.”] and noteworthy projects include work with I do stems from the berimbau. Sometimes For me, this runs deep. Milton Nascimento, his trio Codona (Colin I ask myself, ‘Why me? Why was I given I started playing music professionally Walcott, Don Cherry, and Naná), the Pat the berimbau and why do I play it the way with my father, Pierre, at local dance Metheny Group, Egberto Gismonti, Jan I do?’ The berimbau is the main thing that cabarets when I was 12 years old. I was Garbarek, and his own solo recordings. influences all of my percussion playing.” banging pots and pans around the house, For the past eight years, Vasconcelos has Over a period of three days, from August so my mother allowed my father to take been living and working in his hometown 19–21, 2007, Naná invited me into his home me to work with him. We needed to of Recife, capital of the northeastern state of simply to spend time getting to know one obtain a special police permit for me to Pernambuco, Brazil. His current undertak- another. His gracious and generous man- enter these establishments, and I wasn’t ings include the formation of a new band ner led to a three-hour interview session in allowed to leave the stage! With my of talented young musicians with whom which he revealed once again his mercu- father we played a lot of Cuban dance he has recorded the album Chegadas (2005) rial character, his fascination with nature, music, and my first instruments were and who is currently developing a second sound and music, and his energy and rever- maracas and bongo. record; yearly Carnaval activities as the ence for the creative spirit. Soon after I began to listen to a lot of master of opening ceremonies, working American jazz through the radio station with the 1,600+ drummers involved in the GB: To begin, can you briefly talk about your Voice of America. My heroes were people local maracatu groups; and a project with early musical experiences growing up? like Ornette Coleman, Thelonious Monk, children’s choir and symphony orchestra, NV: My earliest musical memory comes and Dave Brubeck. I bought myself a ABC Musical. from the maracatus that are an important drumset and taught myself how to play His last published interview in an Ameri- part of African culture in Recife. These it. can journal dates from July 2000. N. Scott drumming groups come out to perform It is funny because I won a competition here in Recife. I won best drummer just because I could play in different time sig- natures. I used to listen to a lot of Dave Brubeck’s quartet—“Take Five,” “Blue Rondo a la Turk,” all those things in five, seven, nine, etc. And so I put all these dif- ferent time signatures into the samba. GB: So the music of Dave Brubeck influenced you to start playing Brazilian musical styles in odd time signatures? NV: Yes, Dave Brubeck influenced me to start thinking that way. It was Brubeck, Paul Desmond, Joe Morello—that band. This was one side of the development P of my style. The other side was Africa. I hoto had the whole culture of the candomblés. by I knew all the rhythms of the African E rin orixás and I put those on my drums. L E ss GB: E But eventually you stopped playing the r drums in favor of percussion. Let’s talk about Naná Vasconcelos with Greg Beyer your work with the berimbau. You began PERCUSSIVE NOTES 48 OCTOBER 2007 Naná playing with Trio Nordeste. Recife, 1968. playing the instrument because of a theatre going to Rio for one week to play in a show in Recife called A Memoria dos Can- festival, O Brazil canta no Rio, and I never tadores (Memory of the Singers). What year came back. It has always been like that, was that show? you know. I just leave. When I went to NV: It was in 1964–65, during the great the States it was also like that. Paris, too. period of musical theatre here in Brazil. I convinced a composer I was working The show was meant as a way to show with that the drummers in Rio didn’t all the different folk musics and cultures know how to play maracatu, so he from around the Northeast of Brazil. So invited me to go to this festival with him. there was music from Ceará in the north, In the middle of the festival there was a Amazonas also in the north, and then the party at Milton Nascimento’s house, and Northeast, Paraíba, Alagoas, and then Geraldo Azevedo, whom I had worked finally Bahia. Capoeira was the music with in A Memoria dos Cantadores, intro- chosen to represent Bahia. So for this I duced me to Milton. started to learn berimbau. GB: Did you know Milton’s music already? GB: So you were in your early twenties when NV: No. I knew about his reputation. There you started playing the berimbau. Did you was a big buzz around him already. travel to Bahia to find your instrument? Everyone was talking about the new NV: No, I found it here in the market in thing, Milton Nascimento. He had a new Recife. Capoeira is common here, too, way to harmonize, to think about music. although Salvador is the recognized capi- Everyone at that time was playing bossa tal of capoeira. For the show, I learned nova, and Milton was something else, the music of capoeira, but there are very something different. I liked that, because few rhythms involved in traditional play. I felt that I, too, had something different But after Memoria dos Cantadores, the to say, in the sense that my drumming berimbau stayed with me, and I started was different than what everybody was to think that it didn’t have to only play playing in Rio. I wasn’t going to play the those rhythms. bossa nova that way because I couldn’t play it that way, but I knew different GB: You moved from Recife to Rio, where you things coming from the Northeast. met Milton Nascimento and that changed the So Geraldo introduced me to Milton, course of your career. and I told him, “Listen, I came here to NV: I never “left” Recife! [laughs] I was just play with you.” [laughs] PERCUSSIVE NOTES 49 OCTOBER 2007 GB: The story is that you jammed with him on goes outward. So the sound of the berim- was very difficult in Brazil to find piano pots and pans from the kitchen on his tune bau takes you to a calm place where you wire. I had to find somebody who was a “Sentinela.” can be quiet inside yourself. You can piano tuner and beg them for wire! NV: Yes, and his response was, “Hey, what listen to your inner silence. It is like a So the berimbau was incredibly impor- are you doing on Monday?” So I started meditation almost; the sound makes you tant for me, because it made me realize to compose rhythms for his songs. so peaceful and at the same time it strikes that I have something that others don’t very deep. The sound of the berimbau is have. It gave me the voice to contribute GB: The berimbau was one of many instru- very deep. You have to really get in, get something original to a given context. ments you used when you recorded with in very deep to feel it. I could suddenly play with jazz musi- Nascimento. What was it about the berimbau It is a very simple instrument, but it is cians in an original way. Shortly after I that drew you to it, that made you start to very deep, very rich. Something of nature recorded with Milton, I played with Gato adapt your drumset ideas to this instrument? is in that sound. Barbieri, and he gave me a little solo dur- NV: Well, when I moved to Rio I lived in an ing the concert, and there I realized that I apartment, so it was impossible for me GB: I understand that you made your own had something totally different. to play drums! So I started to play the instrument—that the instrument you picked Then I started to think about how I berimbau. And it drew me in. up in the market in Recife is not the same could develop my ideas on the berimbau. The berimbau is very spiritual. The instrument you play today. And the berimbau started to give me sound of the berimbau comes from inside.
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