Since Danilo Brito first picked up his father’s bandolim — the Brazilian version of the mandolin, named for its pioneer, Jacob do Bandolim — as a toddler in São Paulo, it was clear he was a prodigy. His musical parents encouraged him to nurture his skill, sending him to lessons with regional masters. Brito learned to play choro, the first Brazilian popular music style, with its roots in Portuguese fado, its polka and waltz rhythms overlaid with Afro-Brazilian syncopation, and its dazzling displays of instrumental dexterity. Brito has since become the future of choro, his daring and precise mandolin runs earning him a reputation as the new Jacob do Bandolim. On his self-titled 2014 album, along with a sizzling quintet of guitars and percussion, Brito plays the role of wordless storyteller, conveying a sense of wistful romanticism, inquisitive playfulness, and youthful verve. In March 2018, Duke Performances brought some of the most musically fabled regions of the world to Durham with Black Atlantic, a weeklong festival in downtown Durham celebrating the music of Africa and the African diaspora. Musicians from the Dominican Republic, Haiti, Venezuela, Mali, the Garifuna people of Honduras, and Spain took the stage at Motorco and the Carolina Theatre. “These six concerts,” wrote Duke professor Laurent Dubois, “remind us of common routes, of the ways Black Atlantic music has helped turn exile and exclusion into grounding and connection.” This season, Black Atlantic returns to Motorco (and adds one concert at Baldwin Auditorium) in search of more cultural connections and imaginative hybrids, with artists from South Africa, Congo, Uganda, Mali/Ivory Coast/France, Mauritania, Cuba, Niger, New York, and Brazil.