An Oxford church will on June 21 become a little corner of Rio de Janeiro, when its chancel resounds not to the sound of evensong, but the laid-back grooves of bossa nova, writes Tim Hughes.

The show, at St Barnabas Church, in Cardigan Street, Jericho, will unite Latin lovers, jazz freaks and World Music buffs in a celebration of the smooth, soulful melodies of Brazil.

Vinicius Cantuaria

It is also a rare chance to see one of Brazil's finest performers, in one of just six gigs across the UK.

Vinicius Cantuaria ranks alongside coffee and footballers as one of his country's greatest exports.

Since starting out writing music and playing guitar with 70s rock group O Terco, he has penned songs for some of the biggest names in Brazilian pop, before going solo and dragging bossa nova (which means 'new beat') from its 60s roots on the beaches of Copacabana and Ipanema, into the 21st century.

His seductive songs, subtle arrangements, and collaborations with the likes of former Talking Heads frontman David Byrne, DJ Spooky, Laurie Anderson, Arto Lindsay and Sean Lennon, have seen him acknowledged as the driving force behind the continuing vitality of bossa nova, and have focused attention on a beautiful, yet often

misunderstood, South American style.

Vinicius spoke to eMail, not from a sunkissed beachfront bar in Rio, but a noisy service station on the M42, on route from Leeds to Bristol.

"The tour has been wonderful," he said. "I am delighted so many people are coming to the concerts.

"Bossa nova can be used to express different things, including modern and experimental styles, which is exciting."

With its Portuguese lyrics, and somnolent strumming, is it accessible to English audiences?

Definitely, he says: "Around 10 Brazilian people came to our concert in London, but the rest were British. They couldn't understand the lyrics, but could understand it was very relaxed.

"You don't have to be Brazilian to understand it, just as you don't have to be American or English to understand rock 'n' roll. You just have to open your heart."

Despite his urbane appearance and slick musical style, Vinicius' story started in the steamy jungle city of Manaus, a port halfway down the River Amazon.

He spent his early childhood playing in what was then a lawless frontier town, and feasting on local specialities; Piranha fish, 'jacare' (Caiman crocodile) and anaconda.

As a youngster he moved to Rio de Janeiro, where he found himself exposed to the carnival rhythms and

African-influenced sambas which have made the city famous, as well as the 'Tropicali' movement which was

flourishing in the city at the time.

The movement spawned the mellow songs of Antonio Carlos 'Tom' Jobim, the intimate vocals of Joao Gilberto, and the radical architecture of Oscar Niemeyer, who designed the country's futuristic capital, Brasilia.

But for Vinicius, inspiration came from further afield.

"When I was 17 or 18, I was more interested in English or American music like the Beatles, Rolling Stones or the Byrds to the Tropicali music of the time.

"Now I understand it better. It is not just a musical movement, but a way to live. It is a form of anarchism, which wants to change the rules. The music is good, but the attitude is even better.

"At the time you had samba from the favellas (slums) and bossa nova tried to do something more sophisticated with it. But it is more democratic now, and people living in favellas play it and use it in their own music."

Writing for such luminaries as Chico Buarque, Gal Costa, and Marina, Vinicius also spent ten years on the road with Caetano Veloso.

In 1981 he wrote the singer's biggest hit, Lua E Estrella, which also launched Vinicius' solo career.

However, it wasn't until he moved to New York, 15 years ago, that Vinicius, now aged 42, re-discovered his roots.

"I moved to New York to become more Brazilian," he says. "My focus was more concentrated, not just towards music, but food, politics and books, and I paid more attention to the Brazilian movement.

"I try to keep the Brazilian atmosphere, but am open to new experiences and ideas. I keep the old harmonies and rhythms, and the response has been great.

"But it is the future that is the most important thing."

The show is presented by Oxford Contemporary Music. For details call 0870 750 0659 or visit www.ocmevents.org