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"É ele o Eusébio do jazz?": Jorge Lima Barreto e os discursos e práticas relacionados com jazz e "música de vanguarda" em Portugal (1968-1982)
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Inserida nos estudos sobre jazz, esta dissertação aborda os primeiros anos (1968-1982) do período de atividade de Jorge Lima Barreto (1947-2011) na divulgação e na prática de música jazz e no que então se denominava por “música de vanguarda” (ou “avant-garde”) em Portugal. Geralmente visto como uma figura controversa, ao longo deste quadro temporal, Lima Barreto publicou artigos na imprensa e monografias, realizou concertos a solo e em grupo e gravou três fonogramas. Tanto a sua atividade escrita como musical é por ele ligada a valores e a ideias de “vanguarda” (artística, política, social) frequentemente associados por Barreto a preceitos emancipatórios do indivíduo e das sociedades. Este estudo constitui também uma tentativa de compreensão das dinâmicas entre agentes associados à divulgação do jazz em Portugal, em particular as tensões ocorridas entre divulgadores e/ou críticos e Jorge Lima Barreto, por via das técnicas e das táticas por ele utilizadas com o objetivo de ser reconhecido, por um lado, enquanto crítico de jazz, e, por outro, enquanto músico. Para tal, foram analisados documentos publicados, a participação num colóquio dedicado ao jazz no 1º Acto de Algés (1973), atuações públicas (por exemplo, o concerto a solo na 4ª edição do Festival Internacional de Jazz de Cascais, 1974) e os três fonogramas gravados com a sua participação.
As part of the jazz studies, this dissertation addresses the early years (1968-1982) of Jorge Lima Barreto’s (1947-2011) period of activity in the dissemination and practice of jazz and in what was then called "avant-garde music" in Portugal. Usually seen as a controversial figure, Lima Barreto published articles in the press and monographs, performed solo and group concerts, and recorded three phonograms throughout this time frame. Barreto links both his writing and musical activity to values and ideas – artistic, political, social – of the “avant-garde” with emancipatory premises regarding both the individual and societies. This study also attempts to understand the dynamics between the jazz promotion agents in Portugal, in particular the tensions between promoters and/or critics and Jorge Lima Barreto, prompted by the techniques and tactics used by Barreto with the goal of being recognized, on the one hand, as a jazz critic and, on the other, as a musician. For this purpose, documents, his participation in a colloquium dedicated to jazz at 1º Acto de Algés (1973), public performances (for instance, the solo concert at the 4th edition of the Festival Internacional de Jazz de Cascais, 1974) and the phonograms recorded with his participation, were analysed.
As part of the jazz studies, this dissertation addresses the early years (1968-1982) of Jorge Lima Barreto’s (1947-2011) period of activity in the dissemination and practice of jazz and in what was then called "avant-garde music" in Portugal. Usually seen as a controversial figure, Lima Barreto published articles in the press and monographs, performed solo and group concerts, and recorded three phonograms throughout this time frame. Barreto links both his writing and musical activity to values and ideas – artistic, political, social – of the “avant-garde” with emancipatory premises regarding both the individual and societies. This study also attempts to understand the dynamics between the jazz promotion agents in Portugal, in particular the tensions between promoters and/or critics and Jorge Lima Barreto, prompted by the techniques and tactics used by Barreto with the goal of being recognized, on the one hand, as a jazz critic and, on the other, as a musician. For this purpose, documents, his participation in a colloquium dedicated to jazz at 1º Acto de Algés (1973), public performances (for instance, the solo concert at the 4th edition of the Festival Internacional de Jazz de Cascais, 1974) and the phonograms recorded with his participation, were analysed.
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Jazz Música de Vanguarda Música Improvisada Crítica Musical Imprensa Musical Portugal Avant-Garde Music Improvised Music Music Criticism Music Press