Brazil — All Formats  

Smoking sounds from this legendary Brazilian flautist – a really stripped-down session that's easily one of the greatest documents of his talents we've ever heard! The performance was done for the TV show Ensaio, and has that wonderfully personal feel of most of the program's recordings – with a very strong focus on Altamiro's amazingly complex, yet melodic lines on flute – and backing by a small and lively samba combo. Titles include "Rio Antigo", "Saudade De Padua", "Aeroporto Do Galeao", and "Lamentos" – plus some longer "Pot-Pourri" tracks.

Lovely sounds from the legendary Nelson Cavaquinho – a rare TV appearance from the early 70s, presented here on record for the first time ever! The music's got that great personal feel of the Ensaio series – and mostly features a strong focus on Nelson's namesake instrument – beautiful raspy lines on the cavaquinho, often accompanied by his time-taught vocals, which have an undeniable sense of soul. Guilherme De Brito sits in on the second half, but most of the record features Nelson by himself – and titles include "Rugas", "Chora Do Adeus", "Cuidado Com A Outra", "Folhas Secas", "E Tao Triste Cair", and "O Meu Pecado".

A record that acts just like its title – as the set really helps focus the brilliance of Paulinho Da Viola into bright rays of color – showing different tones and feelings with each new tune on the set! By that, we don't mean that the album's schizophrenic – just that it's got a range that goes beyond the more familiar samba of Paulinho's roots – into territory that reaches right up there with the best of the MPB generation – and almost makes Paulinho into a genre unto himself! The arrangements have a nice sense of variety, but are never too commercial – and the samba roots are always firmly intact – on titles that include "Cisma", "Quem Sabe", "Mais Que A Lei Da Gravidade", "Cade A Razao", "Retiro", and "O Tempo Nao Apagou".

A wickedly wonderful album by Jobim – recorded in LA in the mid 60s, and a perfect meeting of styles that makes for one of his most compelling albums of the 60s! Jobim sings and plays over pillowy-soft arrangements by Claus Ogerman – lightly dancing numbers that weave strings and woodwinds into a wave of sound that dips, turns, and sometimes hits a surprisingly nice groove. Dick Hyman plays a bit of organ on the set – which we always love – and Dom Um Romao's working in the group somewhere on drums. Lyrics are in English, sung in a warm and fragile style by Jobim – and the album's got a great organy version of "Surfboard", plus "Zingaro", "Bonita", "Off-Key", and "Photograph".

A bit more mature than Joelma's debut album – mostly still catchy pop tunes, but sung with a deeper sense of spirit overall. Some of the tracks are Brazilian originals, and others tunes given Portuguese lyrics for the set – and as before, arrangements are by Willy Join, a man with a strange name but a good ear for shifting the moods of the set as each new track comes in. Titles include "Silencio", "O Mar Nao Falara", "Tem Que Ser Ele", "Pranto Teu", "O Teu Passado", and "Setembro".

The emotions may be intense, but they're never overdone – thanks to the great standards set by the legendary Ensaio TV show – easily one of the best ways to hear a Brazilian artist up close! The set's from the 70s, a time when Maysa wasn't recording as much as during her 60s fame – and offers a good way to see the singer work through some classics in an intimate, up-close sort of way – with arrangements that are a bit more restrained than some of her famous recordings, even though the emotion in the vocals is still right on the money. Titles include "Resposta", "Dindi", "Ouca", "Por Causa De Voce", "Chao De Estrelas", and "Preciso Aprender A Ser So".

A great later journey in music from Milton Nascimento – a set that has him faltering a bit in the 90s, then really finding his sound! The first three albums in the set – Angelus, Amigo, and Nascimento – each have a slightly ambitious feel, but are often a bit more restrained than some of the work from Milton's classic years – still filled with the sense of soul and majesty that really set him apart from his contemporaries – but sometimes not finding their mark as much in terms of the production and overall arrangements. Yet Tambores De Minas helps correct that – but putting Milton in a live setting, and really re-exposing his core charm – energy that shines out no matter what the material, in a way that seems to re-seat him on the throne of Brazilian popular music. The set then ends with the majestic Pieta – a record that's warmer and richer than some of Nascimento's other recent albums – and a compelling batch of tunes that shows he's as strong as ever! The album's awash in a soaring, almost spiritual sound – as befits the title – but it's also got some interesting jazzy moments, and a breezy, honest presentation that pushes past the pretension that could mar the record. A surprisingly highlight is a remake of "Cantaloupe Island", done scatting Nascimento-style – with guest piano by composer Herbie Hancock, and guitar by Pat Metheny.

A beautiful later appearance from Milton Nascimento – songs recorded for a TV performance in Brazil, and arguably better than any of his studio albums from the time! The setting is quite spare – Milton on guitar and vocals, and longtime partner Wagner Tiso playing a strongly resonant grand piano – with tones that ring out rapturously, and help elevate Nascimento to the soulful heights of his classic 70s recordings! We can honestly say that, although obscure, the record's essential stuff for any fan of Milton – especially during the early days – and the whole thing offers up a really unique way to hear his genius at work. Titles include "Novena", "Morro Veolho", "Clube Da Esquinha", "Caso De Amor", "Ponta De Areia", "Paula E Bebeto", "Cais", "Por Causa De Voce", and "Travessia".

A sweet live performance from Joao Nogueira – originally done for the Ensaio TV program in Brazil – with all the up-close qualities that always make that show so great! The set's actually a bit more electric than other Ensaio sets – a surprising change, given the sometimes rootsy feel of Nogueira's music – yet the group is small, and the performance definitely has a nice spontaneous feel – almost off the tracks at times, which brings even more urgency to Joao's vocals than usual. Titles include "Espelho", "Um Ser De Luz", "Mineira", "Boteco Do Arlindo", "Clube Do Samba", and "Minha Missao".

Great stuff – one of Flora Purim's more R&B-sounding albums from the 70s, produced by George Duke with an appreciation for Flora's Brazilian jazz roots, but with a smoother sound that's in keeping with Duke's own work of the time! The combination is pretty sweet – a professional culmination of the mixture of fusion and Brazilian jazz that had been happening in the San Francisco scene during most of the 70s, and featuring many of the musicians who had helped make that groove so strong. Players include Airto, Sheila Escovedo, Joe Farrell, Ronnie Foster, Bobby Lyle, and Larry Williams – and tracks include "Niura Is Coming Back", "From The Lonely Afternoon", "Freeway Jam", "Beijo Partido", "Corine", and "Love Lock".

Overlooked later gems from Elis Regina – some of her late-life albums recorded for Warner Brothers! Essa Mulher is a killer – recorded in the company of arranger Cesar Mariano, whose masterful touch made for some of Elis' best albums of the 70s! Cesar arranged and conducted here, and although the production is perhaps a bit more contemporary than Elis' work for Philips, the vocals are sublime – much more driving and jazzy than a few years before, really working hard to dig deep and get the best sound out of each of the tunes! Saudade Do Brasil is a double-length set – very much in the spirit of Regina's classic work for Philips in the 70s! Like so many of those records, this one features arrangements and keyboards by Cesar Camargo Mariano – and the list of tracks is a stellar blend of work by some of Brazil's finest writers. Elis Por Ela features Regina taking on the music of Milton Nascimento, Antonio Carlos Jobim, and Joao Bosco – really showing her range of vocal strengths, set to backings that are a bit different than she would have received on such tunes a few years before when recording for Philips. Elis Vive is excellent live work – an extremely lively performance that brings out the best of her talents at the time – especially in the vocal department, as her singing comes through in a beautifully raw, vibrant way that differs greatly from her studio recordings of the time.

Easily the best record so far from Maria Rita – a set that really pushes her talents a lot, and reaches for a wider range of expression! The vocals are still very much at the forefront – that great legacy from mother Elis Regina, with a similar heavenly approach that works with just about any sort of lyric – but the backings shift things around a good bit, too – moving between full, lush orchestrations, and some gentler, jazzier modes – and even a few cuts that have a lively sense of rhythms. Maria's great throughout – clearly standing strongly on her own, even without the family pedigree – on tunes that include "Santana", "Conceicao Dos Coqueiros", "So De Voce", "A Outra", "Nem Um Dia", and "Pra Matar Meu Coracao". US version features the bonus track "Coracao Em Desalinho".

A rare 60s album by the lovely Sonia Rosa – lots of sweet bossa tunes, handled with a very light touch! The set's got Rosa singing and playing acoustic guitar in front of larger backings by Chiquinho Moraes – nice and jazzy on most of the tracks, with a sound that pushes Rosa past the simple format of some of her other albums from the time. Titles include "Mas Nao Da", "Cheiro De Saudade", "E Fim", "Olhe Meu Bem", "Lata D'Agua", "Ressalva", "Caminhemos", and "Adeus Guacyra".

A collection of two wonderful early 70s albums from Tom Ze, recorded just after the Tropicalia years! Estundando O Samba is one of Tom Ze's best albums ever – a fantastic blend of post-Tropicalia styles – and it features some strange arrangements that perfectly illustrated Ze's insane approach to songwriting. As with much of Ze's music, the actual sound is incredibly hard to describe – and the album bristles with imagination and creative fire. Includes a haunting spare version of "A Felicidade", plus the nutty instrumental "Tom", and the original tracks "So", "Ma", "Vai", "Ui!", "Hein?", and "Mae". Se O Caso E Chorar has a number of tracks with a samba sound at the base – but there's more than enough fantastic material to keep the record fresh, and Tom's writing is as great as ever. There's a vocal group that sings with Ze on many of the tracks on the record – but they also seem to sometimes act as a Greek chorus, in response to breakaway vocal passages that are dominated by Ze. Includes the excellent baroque funky number "Dor E Dor", plus the tracks "Sonho Colorido De Um Pintor", "A Baba", "O Sandalo", "A Briga Do Edificio Italia Com O Hilton Hotel", and "Happy End".

The best of Brazil, old and new – as Joao Gilberto meets up with a younger generation of Brazilian vocalists – Caetano Veloso, Gilberto Gil, and Maria Bethania – all for a wonderful session of stripped-down bossa! The work is very much in Joao's best style of the early 70s – a back to basics return, handled with even more intimacy than before – with production by Gilberto, and some beautifully understated arrangements from Johnny Mandel! Tracks are all nice and long, and allow for lots of vocal interplay between the four singers on the set. Titles include "Cordeiro De Nana", "Aquarela Do Brasil", "Milagre", and "Bahia Com H".

A strangely wonderful album from Jobim – recorded with baroque production by Claus Ogerman, and a style that's similar to the 1973 Jobim album. The sound is perhaps a bit hokey in parts, but most of the time things are pretty sophisticated, with nice jazzy playing Jobim on Fender Rhodes, and some haunting lyrics that differ from the earlier bossa work. Titles include "Boto", "Ligia", "Valse", "Arquitetura De Morar", and "O Homem".

The second album from O Terco – the guitar-heavy power trio who were one of the hardest things going in Brazil during the early 70s! The album's got a style that's somewhat progressive, but which also still holds onto plenty of late 60s psychedelic elements – qualities both sweet and dark, often compressed into the arrangements with an approach that's a bit like some of the more underground South American rock of the time. Side one of the album features 5 shorter tracks – "Deus", "Voce Al", "Estrada Vazia", "Lagoa Das Lontras", and "Rock Do Elvis" – and the second side features the 19 minute suite"Amanheger Total" – a soaring, building number with lots of changes throughout!

Rosemary's got a sound that's a lot groovier than her look on the cover might imply – a mature female 70s sort of pop – served up in a blend of Brazilian and European influences! The arrangements are by Ze Roberto and Jan Guest – and often have a slightly slinky quality that's really great – a gentle groove with a bit of keyboards, guitar, or flute at the background, all of which offset Rosemary's lightly breathy vocals nicely. There's a slight groove on a few tracks – but a very mellow one – and titles include "Viva Bem", "Quero Ser Sua", "Tema De Adao", "Fechei A Porta", "De Mim P'Ra Voce", and "Uma Nova Vida".

A lot smoother than most of Airto's other work – and almost more of a soul record than a jazz one – but also a great batch of grooves with a really spirited feel! Airto's percussion is still relatively up front in the mix, and smooth funky LA arrangements take the album to a warm soulful place – giving the more uptempo tracks a tight dancefloor groove that's still kept a bit rootsy by all the acoustic percussion. Tom Scot lays down great solos on two tracks – "I'm Fine, How Are You" and "The Road Is Hard (But We're Going To Make It)" – and other good tracks include "The Happy People" and "Celebration Suite".

One of those great records where Paulinho Da Viola wonderfully demonstrates why he's so different than some of his contemporaries – a samba singer at heart, but also a poet with a depth that goes way beyond the usual! The tunes here have a simple sort of start, but often unfold with a surprising charm that gets to us – way beyond the boundaries of language – that sort of feeling we get when we listen to some of Chico Buarque's classic recordings, and are pulled in deep, just because the songs are so great! Not all tunes are originals – although most of the best certainly are – and titles include "So O Tempo", "Rumo Dos Ventos", "Amor Ingrato", "Nos Ols Folioes", "Brancas E Pretas", and "Meu Violao".

A sweet overview of work from the second stretch of the career of Gilberto Gil – and a set that's worth it alone for two of the five albums in the package! The set begins with Refazenda and Refavela – both fantastically funky albums that have Gilberto Gil hitting a soulful style that's very different than before – a mode that's more Jorge Ben than any of Gil's previous work – yet still with some of the sharper, more creative edges that always made him one of the leading lights of 70s MPB! Realce manages to capture a lot of the warmth and imagination of Gil's earlier work. The production's a little smooth in parts, but Gil's beautiful voice and guitar playing are still right out front, especially in some of the more stripped-down tracks. Raca Humana is pretty compelling stuff – almost a new wave album of sorts, recorded with lots of tight guitar work by producer Liminha, and plenty of catchy tunes that sparkle like some lost gems from early 80s radio. And Kayangandaya is a real surprise – an album of reggae tracks, mostly by Bob Marley, recorded in Kingston at the Tuff Gong Studios, with help from the Rita Marley, Marcia Griffiths, Judy Mowatt, Sly & Robbie, and others. The record's actually pretty nice – a good blend of the dub-heavy sounds of Jamaica, with some of the rougher soul stylings that Gil was crafting in earlier years – a combination that shouldn't work, but which does nicely.

Pretty sweet stuff from Joao Gilberto – featuring a core jazz combo playing along with a larger set of arrangements, in a manner that's similar to some of Jobim's work from the 70s. The album features a nice vocal version of Jobim's "Wave" and "Zingaro", plus the tracks "Estate", "Tin Tin Por Tin Tin", and "Besame Mucho".

A breezy bossa classic from Jobim – recorded in LA, in case you couldn't tell from the cover image that has ol' AC standing with his guitar in a Pacific sunset! The sound's got a nice easy finish – with arrangements by Deodato and Maestro Gaya that are very much in the spirit of Jobim's work for larger ensembles – and the album features darkly sophisticated versions of bossa classics like "Preciso Aprender A Ser So", "Berimbau", "Samba Torto", "Chuva", and "Imagem". Nice stuff, and with a bit more punch than the "love and strings" title might imply!

One of Airto's most polished records, and an album that we've really grown to love over the years! There's a pretty strong modern soul/R&B component to the album – but at the core, there's still a strong feeling for Brazilian rhythms, and the record's got a wonderfully warm Brazilian fusion component. Marcos Valle arranged many of the tracks with Airto, and the record's similar to some of his excellent R&B-ish work from the early 80s, particularly the stuff he did after working with Leon Ware. Great players and singers on the sessions, too – including George Duke, Herb Alpert, Flora Purim and The Sweet Inspirations. Tracks include "Heartbeat", "Amajour", "Partido Alto", "Open Space", "Tempos Atras", and "And Then We Touched The Sky".

Wonderfully warm work from Paulinho Da Viola – an overlooked gem from the early 80s, and a set that bristles with all the classic energy of his music from the decade before! The overall sound is strongly acoustic – loads of great percussion underneath the guitar and vocals, with only a few bits of keyboards here and there to warm things up on a handful of tracks. And the rhythmic pulse of the record is nicely balanced with a few more mellow moments – which gives things a nice sense of depth and reflection, before jumping back into the groove! Titles include "Ultimo Lance", "Lua", "Forca De Vontade", "Onde A Dor Nao Tem Razao", "Flor Esquecida", and "Viver De Amor".

The second album from O Terco – the guitar-heavy power trio who were one of the hardest things going in Brazil during the early 70s! The album's got a style that's somewhat progressive, but which also still holds onto plenty of late 60s psychedelic elements – qualities both sweet and dark, often compressed into the arrangements with an approach that's a bit like some of the more underground South American rock of the time. Side one of the album features 5 shorter tracks – "Deus", "Voce Al", "Estrada Vazia", "Lagoa Das Lontras", and "Rock Do Elvis" – and the second side features the 19 minute suite"Amanheger Total" – a soaring, building number with lots of changes throughout!

Easily the best record so far from Maria Rita – a set that really pushes her talents a lot, and reaches for a wider range of expression! The vocals are still very much at the forefront – that great legacy from mother Elis Regina, with a similar heavenly approach that works with just about any sort of lyric – but the backings shift things around a good bit, too – moving between full, lush orchestrations, and some gentler, jazzier modes – and even a few cuts that have a lively sense of rhythms. Maria's great throughout – clearly standing strongly on her own, even without the family pedigree – on tunes that include "Santana", "Conceicao Dos Coqueiros", "So De Voce", "A Outra", "Nem Um Dia", and "Pra Matar Meu Coracao".

A great Marcos Valle appearance from recent years – a set that captures him at the time of his excellent comeback on Far Out Records – but in a way that's different than his recordings for that label! The recording is nice and intimate, in that great Ensaio way – very classic, and a deeply personal retrospective of Valle's years of music in Brazil – in a setting that has him performing mostly unplugged versions of his tunes on piano and guitar. Titles include "Mustang Cor De Sangue", "Samba De Verao", "Gente", "Terra De Ninguem", "Um Novo Tempo", "Azimuth", "Black Is Beautiful", and "Com Mais De 30".

A rare American session from the Quarteto Em Cy – working here under the name of The Girls From Bahia, and singing in English as well as Portuguese! The album's got a sound that's quite similar to the group's classic 60s Brazilian records on Elenco – thanks to bossa-heavy backings from Oscar Castro Neves – and even when singing in a second language, the girls do a really great job of hitting the sweetest, warmest harmony notes they can – that trademark vocal brilliance that made them such a huge act back in Brazil! Sonny Burke produced, but he clearly gives plenty of space to Oscar – as the album's got little of his usual Warner touches – and instead shows that when you've got the right talent in the studio, you can do a pretty good job of recording bossa in the US. Titles include "Berimbau", "Tem Mais Samba", "Edmundo (In The Mood)", "Lai Ladaia", Morrer De Amor", "Sunny Side Of The Street", "Road To Nowhere", "Old Piano Roll Blues", "The Day It Rained", "E Nada Mais", "Manhattan", "Dindi", and "A Banda (Parade)".