There was a time in the ’60s and ’70s when several jazz musicians of repute had to visit Brazil for a new spark of inspiration. It was almost a “rite of passage” for many jazz musicians. Classics like ‘Song for My Father’ by Horace Silver; ‘Brazilian Love Affair’ by George Duke; ‘Jive Samba’ by Cannonball Adderley Sextet; ‘Sidewinder’ by Lee Morgan; ‘Big Band Bossa Nova’ by Quincy Jones were born of rips and sounds of trips to and sounds of Brazil. These are a few of the Jazz Giants that had made their most successful albums through the Brazilian inspiration. Grover Washington Jr, George Benson, Earl Klugh, Bob James, Miles Davis, Herbie Hancock, Stan Getz, Kenny Dorham and many others also had big lifts in their music by way of the Brazilian inspiration. The most Yoruba-influenced jazz group is apparently the Art Ensemble of Chicago (see picture above).
It was an autumn evening in 1996 when I visited the up and coming French jazz bassist, Collard Romain, at his flat in Camberwell, London. Collard shared the flat with an up and coming pianist, Javier. Theirs was a flat of jazz music. I had met Collard and saxophonist Christian Brewer a few months earlier at one of the evening jazz duo sessions at Café Boheme in Soho, and we became friends.
It had rained hard just before I set out to meet Collard at his flat one evening and cold. When I knocked on his door, a black guy in jeans pants and a jeans shirt opened the door and asked me who I was looking for in an American accent. A quick and apt description of the guy was that he looked like the father or older brother of rap artist Snoop Doggy Dogg. On entering the flat Collard warmly welcomed me as usual and then enthusiastically introduced Clifford Jarvis to me. I was amazed.