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Mané Sagaz

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The rock’n’roll started flirting with the samba some time ago, since Jorge Ben, before being Benjor, transported to the electric guitar the unique rhythm of his acoustic guitar. The formation of Tropicalia, Novos Baianos drinking from João Gilberto, Raul Seixas chewing the Brazilian northeast, the Mangue Beat welding a throbbing beat with Maracatu are proof that the approximation of this couple wasn’t all that improbable.

But for the wedding of rock and samba to be definitive the drummer would have to transform his instrument in a huge pandeiro. The electric guitars should dialog like only the acoustic samba ones have ever known. The melody of the ‘partido alto’ samba would have to be sung with the pressure one need to overcome the power of rock. In other words: more than a conjunction of styles, it had to be an amalgamate.

With that in mind – the solid purpose to bring to the rock the ‘streetwisdom’ of samba – these six musicians, habitués of Lapa, ‘backyard’ for Madame Satã and other scoundrels, got together to merge distorted guitars with tamborim, to play in 2/4 and to establish a definitive link between rock and samba through Mané Sagaz.

Once that bridge was built, Marcos Bassini (lead vocal), Paulo Afonso (lead guitar), Euler Costa (base guitar), Bruno Mazza (bass), Carlos Sales (drums) and Bibo Bassini (percussions) started to build a faithful audience from live performances in Lapa, Rio de Janeiro, at the same time pleasing the Greeks of rock’n’roll and surprising the Trojans of samba.

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