In Brazil, instrumental music went through many changes from the early Fifties to the Sixties, a vital period in which the last fl ashes of certain virtuosos mingled with innovations from musicians who went on to seduce the whole world, among them Jacob do Bandolim, Baden Powell or Paulo Moura. Here, in a certain fashion, the singers launching the theme’s development were replaced by solo instruments, with improvisations that took place in a very different manner from the rules of jazz. Teca CALAZANS et Philippe LESAGE