Guinga's Delírio Carioca offers an alternative history of MPB, like an anti-bossa nova: what if samba had not dissolved into cool jazz but rather formed a deep new assemblage with the orchestral soundtracks of Mancini and Morricone. What if instead of having slowed and reduced the drum ensembles of samba and translated them into a particular style of plucking and intonation, MPB had retained much of the quality of samba's parent-genre, choro—the frenetic percussive fills, the elaborate counterpoint, the counterintuitive progressions . . .
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