I already liked to buy in thrift stores before it was cool. And just like in the mentioned case of tea, we are dealing with territory that Brazilians in general are quite unfamiliar with. In fact, shopping at thrift stores was for a long time associated here with a situation of great poverty, and many people still think that only a situation of extreme need can justify wearing clothes previously used by strangers.

Perhaps because I was raised in a family in which it was a common practice for younger to wear clothes that no longer fit the older sinblings and cousins, inheriting clothes was never a problem for me. Incidentally, I believe that the practice, from an early age, of choosing the pieces that I liked among family donations is responsible for my “good eye”, that is, the ability to find good pieces, even in the messiest thrift stores.

The ability to establish some kind of order in a chaotic situation can be very useful when it comes to writing a song, because the idea is basically the same: being able to gather some sense in the midst of, according to the beautiful words of the genius Luis Melodia, everything there is “loose on the platform of the air”.

Some musicians take this ability to capture what is in the air and translate it into wonderful music to a spiritual level, like Coltrane and João Donato, who just left this planet to join the stars.

The Brazilian musician João Donato (1934-2023) had one of these blessed gifts. A seemingly effortless capacity not only to insert his signature (a “piano by Donato” can be recognized from afar) in his vast oeuvre, but also to keep transiting through different styles without ceasing to be, well, totally Donato.

Unlike many people think, and despite being strongly associated to the movement, Donato did not classify himself as a bossa nova musician, nor samba, nor jazz, nor rumba, nor forró: “Actually, I am all of these things at the same time”, he used to say.

As a fan of of the his phases have, but I would like to draw attention here to his 2016 album Donato Elétrico. It is a proof that great artists can surprise at any stage of their career (did anyone mention the jazz phase of Matisse?). The album has an enviable freshness and vigor. It refers to modern arrangements ans references, but also pays tribute to the roots, in a way that always reminds me of Fela Kuti. The irresistible energy of the album makes me want to dance, even if only in my mind.

João Donato is now jaming in heaven and we will miss him a lot (his live concerts during the pandemic years saved my day, more than once). Luckily, he will live forever.

Be seeing you!

G.F.