All Categories — All Formats  

A groovy bossa gem from the glory days of A&M Records – an ultra-hip group recorded with production by Sergio Mendes! The feel here is a lot like that of Brasil 66 – bossa rhythms, sunny CA instrumentation, and lovely female vocals – in this case sung singularly, by the lovely Gracinha Leporace – aka Mrs Mendes! Instrumentation is arguably even better than on Brasil 66 records – with wonderfully groovy organ lines from Manfredo Fest, who plays Lowrey organ instead of the usual Hammond. A really essential slice of bossa nova – and a record we'd never part with! Filled with wonderful tunes that include "Gentle Rain", "Up Up & Away", "Wave", "Do You Know The Way To San Jose", "Cacao do Sal", "Veleiro", "Saiupa", and "Nana".

A groovy bossa gem from the glory days of A&M Records – an ultra-hip group recorded with production by Sergio Mendes! The feel here is a lot like that of Brasil 66 – bossa rhythms, sunny CA instrumentation, and lovely female vocals – in this case sung singularly, by the lovely Gracinha Leporace – aka Mrs Mendes! Instrumentation is arguably even better than on Brasil 66 records – with wonderfully groovy organ lines from Manfredo Fest, who plays Lowrey organ instead of the usual Hammond. A really essential slice of bossa nova – and a record we'd never part with! Filled with wonderful tunes that include "Gentle Rain", "Up Up & Away", "Wave", "Do You Know The Way To San Jose", "Cacao do Sal", "Veleiro", "Saiupa", and "Nana".

The bossa remix combo of Bossacucanova wisely get a dose of history and soul from guitarist Roberto Menescal, one of the original bossa nova geniuses of the 60s – and an artist who's really come back into the fold in recent years. The record features Menescal's guitar upfront in the mix – with bouncy bossa rhythms, souped up by electronics, all handled with the right amount of subtlety on the best tracks. Titles include "Surfboard", "Telefone", "Nana", "Rio", "Nos E O Mar", "Garota De Ipanema", "Agua De Beber", and "A Morte De Um Deus De Sal".

A wonderful tribute to the mighty talents of trombonist Raul De Souza – a package that features individual DVD and CD performances by the musician, brought together in one cool little set! Both formats feature recent material, ostensibly recorded for this package – and all tracks on the CD are not on the DVD – and vice versa – which means that you'll get an even broader picture of Raul than you might expect! The performances are great, too – very jazzy, with a style that focuses heavily on De Souza's lead trombone lines and solos – without much other instrumentation getting in the way. Given the many styles that Raul's used over the years, it's great to hear such a back to basics jazz-based set – echoed by guest work on the DVD from Joao Donato on piano and Hector Costita on tenor sax. DVD titles include "Spiritual", "A Vontade Mesmo", "St Remy", "Funky Man", "Bossa Eterna", "Jumping Street", and "Violao Quebrado" – and CD titles include "Alibi", "Ligia", "10 Minutos", "Voila", "Viva O Rio", "Up Jumped Spring", and "Todas As Tribos". Comes in an oversize package – with notes in English and Portuguese!

The best work so far from Rosalia De Souza – a session that features production and guitar from bossa legend Roberto Menescal, and a sound that's deeper and even more classic than any of Rosalia's other work! Most of the instrumentation here is in an older acoustic mode – piano, percussion, and horns arranged by Menescal with that beautifully lighter than air style that he first pioneered in the 60s – an approach that lets Rosalia's vocals drift along on wonderfully gentle rhythms, and dominate the record even more than before. Given that the set's on Schema, there's still a nicely rhythmic component to most numbers – but overall, the record's a bold step forward even for the label – similar to the all-acoustic move made by Nicola Conte in his own recordings! Marcos Valle joins in on vocals on "Que Bandeira", and other tunes include "Onde Anda O Meu Amor", "Voz Da Lapa", "Jogo De Roda", "Rio De Janeiro", "Mar Amar", "Um Novo Dia", and "Vivo Sonhando".

Two great soundtracks by Georges Delerue – both penned for Jean-Paul Belmondo films of the mid 60s! Les Tribulations D'Un Chinois En Chine has a really great style that mixes fake "Chinese" themes with more playful orchestrations – all in a mood that really fits that lightly comedic action of the movie, and which has an extremely evocative feel, even away from the screen! Strings are often arranged in playful ways, and mixed with odd woodwinds – not really authentically Chinese, but that's the appeal! L'Homme De Rio has a stronger Brazilian feel, as you might expect – one that's got bits of batucada, elements of bossa orchestrations, and some of the bolder, more dramatic moments we've come to expect from Delerue! The whole package is great, with lots of images from the films, and notes in both English and French – and a total of 24 tracks that include "Bowling Bresilien", "Batucada/Rapt Au Trocadero", "A La Poursuite De Catalan", "Quelle Adventure", "Mister Goh", "Hong Kong", "Poursuite En Ballon", "Suzy Et Cornelius", and "Choinoiseries" – plus 2 bonus tracks, "Alexandrine Pour Alexandra" and "Amazone".

A great illustration of the way that Martin Denny expanded his groove in the 60s – on some sweetly inventive records like this! On Latin Village, Martin Denny changes the rhythms from tropical to Latin – but the overall groove is still highly in his best exotica mode, and nicely augmented by some additional instrumentation! There's some traces here of the shift in production for instrumental music from the time – a bit of electric bass echoing out at the bottom of some cuts, more echo than usual on the piano lines, and a floating quality that's almost even more sublime than the original Liberty sessions. But the core Denny elements are also still in place – tinkling piano, island percussion, and a playful approach to familiar rhythms that never fails to please. The Latin is more of a nod to harder Latin modes than anything else, but it does make for a nice, if subtle change – one that works especially well when Denny's piano is out front, but compressed a bit in the mix. Titles include "Flying Down To Rio", "Ho Ba La La", "Something Latin", "Girl From Ipanema", and "Latin Village". The Versatile Martin Denny definitely lives up to the versatile in the title – working through a whole host of different 50s and 60s easy tunes – played in ways that are much wider-ranging than usual! Some are percussive and slightly exotic, some have more strings and tinkling piano, and some get slightly playful instrumentation – in a very nice way. Titles include "Little Bird", "Theme From Mondo Cane", "Exotique Bossa Nova", "Quiet Village Bossa Nova", and "Strawberry Tree".

Breezy bossa from late 70s Paris – a rare European session from Rio ex-patriots Erica Norimar and Chiquinho Timoteo! The record's got a warmly jazzy glow that takes full advantage of the vocals of both artists – trading them back and forth on the more lively tunes, in a way that's clearly inspired by the older Brasil 66 style of the 60s, but reworked here into a slightly hipper 70s sound. Instrumentation is mostly acoustic, with a lot of percussion and guitar that give the tracks a samba-styled groove – but a few tracks also feature a bit of keyboards, plus some occasional sax, flute, and trumpet. Titles include "Forro", "Dodo", "Hein", "Nega De Obaluae", "Gota D'Agua", "A Filha Da Chiquita Bacana", "De Frente Pro Crime", "Kid Cavaquinho", "Ligia", and "Vatapa".

A pair of bossa classics – back to back on a single CD! The first Jazz Samba set is one of those records that no home should be without – not only a pivotal album in the growth of bossa nova in the 60s – but a set that also really helped set the career of tenorist Stan Getz on fire! The real credit here might almost go to guitarist Charlie Byrd – as Byrd was a big early proponent of bossa nova rhythms, and had already been experimenting with them on his records of the time – yet also gets a key extra "umph" here in the presence of Stan's tenor – a bold, rich, soulful sound that really helps give the music a lot of direction – in ways that still resonate strongly all these many years later! Getz is completely sublime – a master of tone and timing throughout – and perfectly fit to these tunes. Rhythms are mostly from Byrd's trio, augmented with some extra percussion – and titles include the classic "Desafinado", plus "E Luxo So", "Samba Dees Days", "Samba Triste", "O Pato", "Samba De Uma Nota So", and "Baia". Jazz Samba Encore is hardly an "encore" of the first Stan Getz Jazz Samba album – as this set's got a slightly different feel, and lots of great elements that make it really unique! This time around, Brazilian musician Luiz Bonfa is on guitar – already a skilled proponent of the bossa by the time of the record, and arguably one of the few who really got it going back home in Rio. Stan's tenor sounds wonderful – as carefully and soufully blown as on the first set, but also with some new colors and tones too. Bonfa's wife Maria Toledo sings a bit on the record – hinting at Stan's work to come with Astrud Gilberto (this album was cut right before the Getz/Gilberto collaboration) – and the record also features added work on piano and guitar from the great Antonio Carlos Jobim – more than enough proof that the album's got a pure bossa pedigree! Titles include "Menina Flor", "Ebony Samba", "Saudade Vem Correndo", "Sambalero", "Samba De Duas Notas", and "Mania De Maria".

Some of the earliest work ever recorded by Gilberto Gil – served up here in a really great 2CD set! The first CD in the set a beautiful album of rough-hewn samba tracks, done in a really lively style! Gil's great vocals are very firmly in the lead of the album's arrangements – and some tracks use a full samba percussion and instrumental style, while others feature Gil singing in a spare setting, with mostly light percussion and acoustic guitar behind his voice. The sound is really tremendous, and although the album is a short one overall, it's still an essential treasure from some lost years of Gil's career! Titles include "Povo Petroleiro", "Vem Colombina", "Vontade De Amar", "Maria Tereza", and "Meu Luar, Minhas Cancoes". Most of the material on that disc was previously issued on the CD title Salvador 1962-1963 – but there's also a bonus cut here titled "Felicidade Vem Depois". CD 2 is even cooler – 18 early demo cuts recorded in 1966 – very stripped down and earthy, showing Gil in this beautiful space between bossa nova and some of his more personal and experimental moments to come! At points, there's a Joao Gilberto-like charm to the music – and the recording style is almost more like some of the earliest late 50s sides to come from Rio – with all the charm that might imply! Titles include "Beira Mar", "Zabele", "A Ultima Coisa Bonita", "Cantiga", "Retirante", "Lemanja", "Vento De Maio", "Rancho Da Boa Vinda", and "Minha Senhora".

A very groovy record with a very fitting title – especially once you hear the lyrics of the tunes! The Girls From Bahia are actually the Quarteto Em Cy – one of the best harmony groups of the bossa era, and famous for classic recordings on the Elenco label – but working here in a rare American context that has them singing in English with heavily accented voices! The overall setting's quite similar to their Brazilian classics – gentle bossa backings arranged by Oscar Castro Neves, who brings an airy feel to the set – and it's great to hear the girls singing here in English, in ways that link back to the older harmony groups that clearly inspired them. The whole thing's incredibly charming, and titles include "Surfing In Rio", "Tup A Tup", "The Face I Love", "Canto De Ossanha", "Image", "Useless Landscape", "Tears", "Voce", and "Pardon My English". CD also features the bonus tracks "Berimbau", "I Live To Love", and "Amaralina Beach".

Way way more than just bossa nova – a mighty groover from the great Nico Gomez! Nico's known for his harder pounding tracks that have become favorites with the funky crowd, but this stellar album shows that Nico could also work in jazzier territory when he wanted to – as the album's a wonderful batch of tunes that mix together Latin, groovy, and bossa styles! There's some very nice wordless female vocals on a few cuts, scatting along with a warm breezy feel – and other tracks feature vibes, or guitar, sax, and other strong instrumental elements – with more than enough punch to be funky at a few points. The whole thing's as groovy as groovy can be – with a sound that's past bossa, and way more than any fake easy instrumental attempt at the genre – a real peep into the mad mind of Nico Gomez, and proof that his albums are always worth tracking down! Titles include "Din Din Din", "Aquarela", "Samba De Rio", "Saudade Do Rio", "Agua", "Rio", and "O Barquinho".

Sweet work from Joyce – a very intimate album that really reminds us of her classics from years back! Most of the set just features Joyce's vocals and guitar – but as you'll know if you love her as much as we do, that alone is enough to make the record wonderful – a slyly seductive blend that few other artists could carry off this well! The style is rooted in bossa, but inflected with jazz – and yet carried off with an individual style that nobody else can touch. Titles include "Adeus America", "Puro Ouro", "Vela No Breu", "Manha No Posto 6", "Viva Meu Samba", "Rio Meu", and "Mascarada".

Although Herbie and Joao are listed together in the artist credits together for the record, they don't really play together on the record – as did Joao and Stan Getz on their album together. Instead, they trade off tracks of bossa nova material, recorded with Jobim in Rio – Joao's by EMI/Odeon, Herbie's by Atlantic. The set includes a host of great light breezy bossa stuff – like "Amor Em Paz", "O Barquinho", "Bim Bom", "Bolinha De Papel", and "Deve Ser Amor". Not totally over the top, but a very nice batch of breezy bossa tracks with lots of light flute and guitar lines floating around!

A lost bossa classic from Wanda De Sah – aka Wanda Sa, the wife of Edu Lobo, and a singer who worked with Sergio Mendes in his pre-Brasil 66 days! The album's got a wonderfully laidback feel – languid, yet jazzy, with the feel of some of Astrud Gilberto's best work on Verve, yet with vocals that are possibly better – thanks to Wanda's pedigree in Brazilian pop. Recordings were done in California, not Rio – and arrangements are handled by the great Jack Marshall – who's got a strong ear for keeping things interesting with a mix of strings, Latin rhythms, and Capitol pop shadings. Titles include "Aqua De Beber", "Ho Ba La La", "Sweet Happy Life", "The Dreamer", and a great version of "Aruanda".

A wonderful album from Lalo Schfrin! This one mixes together bossa piano and sweeping string arrangements – in a style that's incredibly dark-edged and driving, with a sound that's at once spooky and lovely – a dancing groove that makes the best tracks really sparkle! The album's light years away from other "piano with strings" albums of the time – proof that Schifrin was easily one of the most imaginative forces of his generation, and an arranger who really helped reshape music in the 60s. Titles include the incredible version of "Maria" that's played quite often by Gilles Peterson – plus loads of other nice ones, like "The Wave", "Insensatez", "You And Me", "Murmurio", "Rapaz De Bem", "Rio After Dark", and "Time For Love".

Nearly 3 albums' worth of music from the legendary Tamba Trio – one of the grooviest groups in the 60s bossa years in Brazil! The trio are quite unique – in that they not only play upbeat bossa rhythms, but also harmonize along with their grooves – in a soaringly sublime quality that really electrifies the tunes! Most of their lyrics are jazzy and somewhat scatted – kind of an added layer of music on top of the core jamming of piano, bass, and drums – and the production on these key 60s sides really helps their sound hit just the right level – a heavenly sound that's occasionally augmented by added percussion, flute, or guitar. The CD is one of the best introductions to their work we've ever seen – as it features material from the 60s albums Tempo, Tamba Trio, and Avanco, plus the rare Brasil Saluda A Mexico single – a whopping 26 tracks in all, with titles that include "Reza", "Tamba", "Batida Diferente", "Influencia Do Jazz", "Nos E O Mar", "O Amor Que Acabou", "Tristeza De Nos Dois", "Negro", "Rio", "Yansa", "Moto Continuo", "Barumba", "Danielle", "Pregao", "Boranda", "Consolacion", and "Morte De Um Deus De Sal".

A sweet little collection that goes way beyond basic bossa nova – as it offers up tunes from a host of different vintages, in different styles of the genre – including some surprising gems from recent years too! Vintage material is blended nicely with cuts from Far Out and a few other current labels – and together, the tracks show the strong evolution of bossa nova into the 21st Century – way past the basic sounds at the start. There's a number of tracks on here we've never heard before – and titles include "The Girl From Ipanema" by Paula Santoro, "O Nosso Amor" by Vanja Orico, "Agua De Beber" by Xavier Osmir, "Meu Samba Torto" by Clara Moreno, "How Insensitive" by Simao Morto, "Rio Bahia" by Joyce, "Wave" by Victor Assis Brasil, "Mas Que Nada" by Rio Combo, "Dindi" by Paula Santoro with Hugh Burns, "So Danco Samba" by Gustavo Marques, and "Salve Dom" by Armando Marcal. 32 tracks on 2CDs – quite a deal!

Beautiful bossa from the vaults of Brazil's Elenco Records – warm, breezy treasures from the heart of the 60s with numbers by legendary singers and groups such as Edo Lobo, Quarteto Me Cy, Nara Leao, Baden Powell, MPB-4 and more! The independent Elenco label was founded in Rio in 1963 and aimed to bring the biggest names in bossa together under one roof. The label not only succeeded in that effort, but the artists brought out some of their best performances! Soul Jazz not only puts together essential material – compiled by Stuart Baker, who also contributes the exceptional sleeve notes – they manage to outdo themselves, which is honestly an incredible thing, considering that every compilation they put out is filled with treasures. The booklet features Baker's notes, some photos of the artists, and some original Elenco album cover art – the latter of which is nicely paid tribute to with Soul Jazz's own packaging for the set. 23 tracks in all: "Resolucao" by Edu Lobo w/Tamba Trio, "Consolocao" by Baden Powell, "O Canto De Ossanha" by Quarteto Em Cy, "Zanzibar" by Edu Lobo, "Maria Moita" by Nara Leo, "Enquanto A Tristesse Nao Vem" by Sergio Ricardo, "Negro" by Lucio Alves, "Sentinela" by MPB-4 and more.

The American take on the sound of bossa nova – a mode that started almost as soon as the first sounds headed north from Rio, and which grew to become a very important contribution to the music in the 60s! We love the originals by Antonio Carlos Jobim, Luis Bonfa, Joao Gilberto, and others – but we also totally dig these American reinterpretations by musicians on Verve, Fantasy, and other hip labels of the 60s – players who really got into the sound of Brazilian rhythms, and used the new groove to unlock some great power in their own solo playing as well! The package mostly features 60s recordings, with a few gems from later years – and titles include "Temanco No Samba" by Cal Tjader, "Samba De Orfeu" by Bob Brookmeyer, "O Morro" by Wes Montgemery, "Samba With Some Barbecue" by Paul Desmond, "Desafinado" by Charlie Byrd, "Um Abraco No Bonfa" by Coleman Hawkins, "Jazz Bossa Nova" by Milt Jackson, "Nana" by Kenny Burrell, "O Grande Amor" by Stan Getz, and "Mas Que Nada" by Hank Jones & Oliver Nelson.

Early bossa jazz from Sergio Mendes – recorded with his famous Bossa Rio combo, in the years before he moved to America! The album's a classic in Brazilian jazz – a tight album of bossa-inflected jazz tunes played with razor-sharp precision, handled with a style that went on to influence countless other Brazilian groups at the time. Mendes is in the lead on piano, and other players include Edison Machado on drums, Raul De Souza on trombone, and Hector Costita on tenor sax. The whole thing's great – a masterpiece of both jazz and bossa – and it's filled with classic tunes arranged by Jobim, Moacir Santos, and Sergio himself. Titles include "Nana", "Primitivo", "Desafinado", "Ela E Carioca", "Amor Em Paz", "Noa Noa", and "Neurotico".

A lost bossa classic from Wanda De Sah – aka Wanda Sa, the wife of Edu Lobo, and a singer who worked with Sergio Mendes in his pre-Brasil 66 days! The album's got a wonderfully laidback feel – languid, yet jazzy, with the feel of some of Astrud Gilberto's best work on Verve, yet with vocals that are possibly better – thanks to Wanda's pedigree in Brazilian pop. Recordings were done in California, not Rio – and arrangements are handled by the great Jack Marshall – who's got a strong ear for keeping things interesting with a mix of strings, Latin rhythms, and Capitol pop shadings. Titles include "Aqua De Beber", "Ho Ba La La", "Sweet Happy Life", "The Dreamer", and a great version of "Aruanda".

Breezy bossa nova – Hollywood 60s style! The album's one of the best cut for Capitol by guitarist Laurindo Almeida – and has a sweet groovy little style that features Laurindo's lovely guitar work over some lightly dancing small combo backings that include flute, harmonica, organ, percussion, and even a bit of whistling on a few tracks! The vibe's very much in the best Verve/Impulse takes on the bossa – done with a clear California influence, which keeps things cool and breezy – and which also pushes Almeida past his sometimes-staid style on guitar. Two cuts also feature some great vocals by Irene Kral – and titles include "Twilight In Rio", "Old Guitaron", "Sarah's Samba", "Izabella", "Winter Moon", "Girl From Ipanema", and "Choro For People In Love".

An amazingly seductive album from Stan Getz! The record features Getz's tenor blowing breezily away, amidst sophisticated arrangements with touches of dark easy scoring, post-bossa Brazilian writing, and early CTI production. Claus Ogerman arranged the whole set, and the overall feel is very similar to From The Hot Afternoon, which has Paul Desmond blowing in a similar style to arrangements by Don Sebesky. The core group features some hip players – like Herbie Hancock, Jim Hall, and Ron Carter – and the larger backing has the "voices" you'd guess from the title. Tracks include "Once", "Darling Joe", "Midnight Samba", "Little Rio", "Infinidad", and "Where Flamingo's Fly".

An unusual package of Quincy Jones albums – featuring variations on two American records, presented here in offbeat German versions of the 60s! First up is Songs For Pussycats, kind of a mix of Quincy Jones' Pussycat album for Mercury with some tracks from other records too – all done in that wicked mix of jazz, soundtrack, and popular themes that Quincy virtually helped invent back in the 60s! The album's got plenty of great groovers that take a popular tune and kind of turn it on its ear – takes on tracks like "What's New Pussycat", "Take Five", "Mack The Knife", "Sermonette", "Mr Lucky", and "Cast Your Fate To The Wind" – all of which are souped-up by Quincy, and done in a rhythmic style that takes them past familiar versions you might know. Quincy In Rio is a set that seems to be the famous Big Band Bossa Nova album at the start, but which also features tracks from other 60s albums too – showing a whole new fresh side to Quincy's genius in a jazz bossa mode! Arrangements are very lively, with lots of great percussion underneath the soaring big band charts – and titles include "Bossa Nova USA", "Desafinado", "Jive Samba", "Baia", "The Gentle Rain", "Non-Stop To Brazil", "Samba De Una Nota So", and "I Love You & Don't Forget It".

A HUGE batch of samba-soul grooves from Seu Jorge! Jorge previously knocked around Brazil as a member of the late 90s pop group Farofa Carioca, but his first solo outing is a massive step forward into the upper echelon of the Brazilian scene! Like the best of his contemporaries, Jorge uses the rich history of samba and bossa as a springboard – but it's the pronounced contemporary qualities, such as production and mix work by Beastie Boy producer Mario Caldato – that push Carolina way over the top and make it much more than a genre exercise! The title track echoes the earlier work of Jorge Ben, who actually pens the reggae-inflected tune "Em Nagoya Eu Vi Eriko", and the tracks "Mangueira" and "O Samba Tai" have the classic samba groove and crisp background vocals that would sound right in place on Tom Ze's Se O Caso E Chorar. "Hagua" has a deep reggae thump, and nearly everything here has kind of a 70s soul feel thanks to some bright, almost Kool & The Gang-like horn arrangements! The group includes Azymuth drummer Mamao, Paulinho Black on bass, Banda Black Rio's William Magalhaes on keyboards, and Josimar Monteiro on violin. Another great new solo artist from Brazil, and one that we expect amazing things from in the years to come!

A Brazilian fantasy in music – as Michel Legrand turns his early orchestral approach towards the sound of Rio in the 50s! Given that the work here is from the pre-bossa years, the sounds invoked are a bit of samba, and a bit of the more dramatic instrumentation used in Brazilian music of the time – served up in Latin-styled hits of Brazilian and other South American origin – all given some rich colors and flourishes by Legrand's orchestrations! There's some bolder percussion amidst the swirling strings – and as usual with Legrand, specific instruments step out of the broader mix nicely – giving a rich sense of personality to the music that you might not expect. The record's got a lot more to offer than sleepier American sessions of this nature – and is actually even better than Michel's albums from the time based on European themes. Tracks include "Adios", "Maria Dolores", "Maria My Own", "Siboney", "Caravan", "Brazil", "Frenesi", "La Ultima Noche", "Perfida", and "Besame Mucho".

An all-star effort from Sergio Mendes – one that follows nicely on the comeback energy of his previous Timeless set! Like that one, this album has Mendes dipping heavily into contemporary soul modes – picking up a bit of R&B, bits of hip hop, and bits of a few other styles – then folding them back into music from his Brazilian roots! The blend is almost a 21st Century update of the mix of soul and bossa that Sergio forged in the 70s after his initial Brasil 66 work on these shorts – and the balance struck here is surprisingly strong – possibly even better than the sound of Timeless. Guests include Will I Am, Siedah Garrett, Ledisi, Carlinhos Brown, Vanessa Da Mata, Gracinha Leporace, Natalie Cole, and Lani Hall – and titles include "Catavento", "Morning In Rio", "The Look Of Love", "Dreamer", "Lugar Comum", "Odo-Ya", "Waters Of March", and "Funky Bahia".

Even though Paul Winter's always been a little bit of a phony, this bossa LP on Columbia is pretty good stuff! The record was recorded with some of Brazil's best bossa players – like Luiz Bonfa, Roberto Menescal, and Luiz Eca (of Tamba Trio fame). John Hammond produced the session, so you can be sure it's got the kind of rootsy sound that will make the tracks have a bit more kick than if the album was in the hands of a regular pop-bossa producer. Titles include "Avion", "Reza", "Vagamente", "Ela E Carioca", "Zomba", and "Alem Da Imaginacao".

The Brazilian side of Blue Note Records – a double-length collection that mostly features bossa-inspired numbers from the 60s, but also includes a few gems from more recent years too! Unlike Verve or Impulse, Blue Note rarely went straight into bossa nova – and instead, the label's artists often came at the music from a different direction – using bossa themes and inspiration, mixed with their own hard bop impulses – and often served up in a really unique groove in the end! This package is a great illustration of that special magic – tracks that go way past the usual, and which still sound amazingly fresh and visionary all these many years later. Titles include "Wave" by Stanley Turrentine, "Blue Bossa" by Joe Henderson, "Sandalia Dela" by Duke Pearson, "Book's Bossa" by Donald Byrd, "Rio" by Lee Morgan, "Recado Bossa Nova" by Hank Mobley, "Swingin The Samba" by Horace Silver, "Back Down To The Tropics" by Charlie Rouse, "Love For Sale" by Dexter Gordon, "Latona" by John Patton, "O Amor Em Paz" by Cannonball Adderley, "Manha De Carnaval" by Ron Carter, "Waters Of March" by Cassandra Wilson, and "Triste" by Dianne Reeves.

A very cool package of Brazilian grooves – put together by the Hotel Nacional Rio, in a glossy gatefold cover that features lots of images of the hotel! The package has a great 60s Kodachrome sort of look – and the tracks on the set are a great mixture of Brazilian bossa, samba, and jazz tracks that perfectly fit the mood of the classy location! The record doesn't list the artists – possibly because this was an "unofficial" compilation – but tracks are all relatively familiar. Titles include "Delicado", "Saberas", "Festa Para Um Rei Negro", "Deixa Amanhecer", "Quadrainho", "Selecao De Mangueira", and Madalena".

A sublime selection of grooves from the legendary A&M Records – and a key document of the way the label helped shape the sound of Brazilian music in the 60s! Far more than any other American imprint, A&M had a key dedication to bringing Brazilian sounds to the US – not just through work by artists like Sergio Mendes, Edu Lobo, Bossa Rio, and others – but also through the way it introduced Brazilian songs, arrangements, and instrumentation to work by other singers too! This package brings together some of the best of those moments – great music mostly from the late 60s – showing not just the presence of Brazilian music on the label, but the strong influence of bossa nova as well. Titles include "Old Devil Moon" by Bossa Rio, "Dindi" by Claudine Longet, "Fool On The Hill" by Sergio Mendes & Brasil 66, "One Note Samba" by Chris Montez, "Don't Go Breaking My Heart" by Roger Nichols, "Fly Me To The Moon" by Chris Montez, "Day By Day" by Bossa Rio, "Misty Roses" by The Sandpipers, "The Girl From Ipanema" by Chris Montez, "Up Up & Away" by Bossa Rio, "Mas Que Nada" by Sergio Mendes & Brasil 66, and "Our Day Will Come" by Roger Nichols Trio.

A huge amount of work from one of the most important female artists in Brazil during the past few decades – the lovely Nana Caymmi, presented here in the first collection to really do justice to the full scope of her music! The package starts with Caymmi's initial album for Elenco during the bossa years, then runs through a tremendous run of records – a musical evolution that few of her contemporaries were able to match – as Nana really started trying out new ideas in her songs, both lyrically and vocally – at a level only matched by a few others, like Gal Costa or Maria Bethania! The box presents 18 different albums, all with original artwork – plus a bonus CD of rare material too – and titles include Nana (1965), Nana Caymmi (1973), Nana Caymmi (1975), Renascer (1976), Nana (1977), Nana Caymmi (1979), Mudanca Dos Ventos (1980), E A Gente Nem Deu Nome (1981), Voz E Suor, Chora Brasileira, Nana (1988), So Louco, Nana Caymmi (1993), A Noite Do Meu Bem, Alma Serena, No Coracao Do Rio, Resposta Ao Tempo, and Sangre De Mi Alma – plus the bonus CD Eu Sei Que Vou Te Amar.

Two sweet Braziliany groovers back to back! "Pas Tant De D'Chici Ponpon" is a great number by singer Jean Constantin – lightly jazz with plenty of bossa touches, some nice piano in the mix, and great vocals by Jean with warm and raspy touches! "Obelix Samba" is more lively and more 70s oriented – electric keys over strings with a percussive finish – almost the soundtrack for an aerial view of the Rio beaches, circa 1976, with all the sunniness to match!

One of the better early bossa albums by Bonfa, and one that doesn't have the sleepy quality that you find on some of his other records. Luiz' guitar is backed by a nice little combo, and the tracks have a lively rhythm, with occasional vocals, and some nice flute solos from time to time. The whole thing sounds a bit like an early Baden Powell session – and includes the tracks "Amor Em Brasilia", "Amor De Solidao", "Murmurio", "Inquietacao", "Voce Chegou Sorrindo", and "Saudade De Bahia". Also issued in Brazil under the title O Violao E O Samba.

A great blend of Brazilian roots and piano jazz – played here by a trio that's all-solid, all the way through – serving up some really wonderful music that never relies on bossa cliches, or any sort of tricks and gimmicks! Instead, there's a really rich mixing of modes – one that's so deep down, it comes through with its own fresh flavor out on the top – thanks to magically fluid work from the trio of Helio Alves on piano, Nilson Matta on bass, and Duduka Da Fonseca on drums! There's plenty of sets out there that boast titles and concepts like this one – but trust us when we say that this trio's really head and shoulders above most of the rest. Titles include "Embalo", "O Cantador", "Cosntelacao", "O Boto", "Luiza", "Bolivia", "Isabella", and "Quebra Pedra".

A pair of classics from guitarist Charlie Byrd – back to back on a single CD! First up is Latin Impressions, a set that's more Brazilian than Cuban – and maybe a bit Spanish, too – given the strong use of acoustic guitar from Charlie Byrd! The set's got a laidback, open feel – and Byrd's guitar work is mighty deft, yet without all the frills and flowers of some of the more dramatic, emotive players of the time – a great illustration of the huge shift that the early bossa guitar recordings had at a global level. Byrd was one of the first big American proponents of bossa, and you can definitely hear that influence at work here – amidst additional guitar from Gene Byrd, bass from Keter Betts, and drums from Bill Reichenbach. A few tunes feature Charlie on solo guitar with no backing – and titles include "O Pato", "Homage A Villa Lobos", "Bogota", "Vals", "Samba De Uma Nota So", "Amor Flamengo", and "Azul Tiple". Bossa Nova Pelos Passaros is a landmark, as guitarist Charlie Byrd was one of the first American players to record bossa nova tunes – but although his work with Stan Getz has always been well-documented, some of the titles under his own name can be quite hard to come by. This is one of the best ones that Charlie cut on his own – and it features tight guitar work in a mode that's similar to that used by Baden Powell on his early bossa recordings, augmented by trio rhythms – plus some occasional larger backings by Walter Raim, and some extended group settings that feature Charlie Hampton on alto, Earl Swope on trombone, and Willie Rodriguez on percussion. Tracks include "Ho Ba La La", "Samba Triste", "Yvone", "O Barquinho", "Un Abraco Do Bonfa", and "O Passaro".

A really dreamy little set from this hip Brazilian combo – a set that's got a bossa feel overall, but which also seems to draw a bit from folkloric roots too! The instrumentation is nice and warm – a great 60s blend of light percussion, acoustic guitar, and nice bits of jazzy flute and vibes – all really sparkling nicely with the group's blend of male and female vocals – sometimes singing solo, but often coming together in these harmonies that are mighty nice! There's echoes here of some of the other bossa harmony groups – like Tamba Trio or Os Cariocas – but the approach is pretty fresh, too – given all the nice little touches the group uses to make the music here their own. Titles include "Pouca Duracao", "Amor E Ilusao", "Onibus Colegial", "E Assim Foi O Nosso Amor", and "Mandrake".

The Voice is certainly the most beautiful sound in the world here – thanks to the vocals of the amazing Edda Dell'Orso! Edda's was THE voice heard in virtually all the best Italian soundtracks of the late 60s/early 70s era – that floating, dreamy singer who graced countless Morricone film scores, and also appeared on a fair bit of work by other composers too! And although Edda could also sing with some darker, sharper edges, the work here is all from the more beautiful side of the sound spectrum – and focuses on Dell'Orso's haunting wordless vocals, plus a few lyrical numbers – set amidst a backdrop of bossa rhythms, light instrumentation, and slightly groovy rhythms. The package features a whopping 21 tracks in all – with Edda's vocals on tunes that include "Con O Senzo Sole" and "Scacco All Regina" by Piero Piccioni, "Love Is A Woman" and "Let's Find Out" by Armando Trovajoli, "El Primo Baso" and "Delirio Secondo" by Ennio Morricone, "Eva's Beguine" by Roberto Pregadio, "Messalina Theme" by Giacomo Dell'Orso, and "Angelo E Giuditta" by Armando Trovajoli.

Beautifully mature work from Brazilian piano legend Joao Donato – an album that draws on his rich legacy of musical expression from the bossa years onward, presented here with a few surprising twists and turns! The core format is piano trio – Joao on the acoustic keys, with Luiz Alves on bass and Robertinho Silva on drums – yet the sound is quite changed from the early days when Donato recorded heavily in this way, inflected with some really complicated rhythms at points, and turned towards these soulful undercurrents we especially love. Instrumentation includes a bit of guest strings on one track – plus vocals from Zeca Pagodinho, flute from Ricardo Pontes, and cavaquinho from Paulinho Soares – artists who each appear on a track in the set. Titles include "Sambolero", "E Menina", "A Ra", "Jodel", "Sambou Sambou", "Amazonas", "Quem Diz Que Sabe", "Surpresa", and "Brisa Do Mar".

One of the few rare albums cut by Chicago soul jazz singer Jean DuShon, an artist that Chess really tried to push in the mid 60s, but who never really seemed to make it. This one's a nice set of intimate jazz vocal tracks, sung with the Herman Foster trio, and covering a range of material from blues to bossa. Includes versions of "Early One Morning", "More", "Baia", "Night Song", and "I'm Thru With Love".

One of those records that no home should be without – not only a pivotal album in the growth of bossa nova in the 60s – but a set that also really helped set the career of tenorist Stan Getz on fire! The real credit here might almost go to guitarist Charlie Byrd – as Byrd was a big early proponent of bossa nova rhythms, and had already been experimenting with them on his records of the time – yet also gets a key extra "umph" here in the presence of Stan's tenor – a bold, rich, soulful sound that really helps give the music a lot of direction – in ways that still resonate strongly all these many years later! Getz is completely sublime – a master of tone and timing throughout – and perfectly fit to these tunes. Rhythms are mostly from Byrd's trio, augmented with some extra percussion – and titles include the classic "Desafinado", plus "E Luxo So", "Samba Dees Days", "Samba Triste", "O Pato", "Samba De Uma Nota So", and "Baia". This is the Verve master edition with 20-bit remastering, bonus track, new liner notes, photographs, cover art & more.

A very different record than the first collaboration between Stan Getz & Joao Gilberto – but that's also one of the things that makes it great! The album's more of a split LP than a shared one – as side one features a live performance from the great mid 60s Stan Getz quartet that featured Gary Burton on vibes – a wonderfully cool combo that was very under-documented on record, and which makes a key appearance here. The combination of Burton's vibes and Stan's tenor is pure genius – a sound that's got all the subtle hues and cool colors of the Getz bossa recordings, but which is quite different overall. Stan's tone is amazing on these tunes – and titles include "Here's That Rainy Day", "Tonight I Shall Sleep With A Smile On My Face", "Grandfather's Waltz", and "Stan's Blues". Side two features Joao Gilberto without Stan – playing in a very groovy trio that's more straight bossa than most of his other US recordings – cool small combo grooving that's totally great! The lineup features Gilberto on guitar and vocals, Keeter Betts on bass, and Helcio Milito on drums – all working in a sweetly grooving mode on titles that include "Samba De Minha Terra", "Meditation", "Bim Bom", "Rosa Moreno", and "O Pato". CD also features 5 bonus tracks with vocals from Astrud Gilberto – "It Might As Well Be Spring", "Only Trust Your Heart", "Corcovado", "Garota De Ipanema", and "Eu E Voce" – all from the Getz Au Go Go album.

A wonderful album of Joao Gilberto's early bossa tracks from Brazil – loaded up here with various numbers from other great Brazilian stars! The original one of the first few that he ever recorded, and it's a masterpiece of understatement, recorded with arrangements by a young Antonio Carlos Jobim, and a soaring bossa sound that would soon make history. Tracks include "Discussao", "O Pato", "Outra Vez", "Doralice", and "Samba De Uma Nota So", "Se E Tarde", "Corcovado", "So Em Teus Bracos" and more. This version in El UK fills out the CD with covers of some of these numbers and many more by Sergio Mendes, Sylvia Telles, Walter Wanderly, Silvio Silveira, Carlos Lyra and others. 35 tracks in all!

A wicked session by Grant Green – one that's very different than any of his other Blue Note records! Here, Grant's going for a "Latin bit" – adding in a trio of percussionists to spice up the groove with a bit of bossa rhythms, and some harder jamming styles that feel a lot like those used in some of the better Cal Tjader albums of the time. Willie Bobo's in the group on drums, and the only other accompaniment is piano, bass, and percussion – letting Grant run out nice and long on his solos, on a very hip set of tracks that includes "Tico Tico", "Mama Inez", "Besame Mucho", and "Mambo Inn". CD reissue also includes 3 bonus cuts, not on the original album – "Grenada", "Blues For Juanita", and "Hey There".

A wicked session by Grant Green – one that's very different than any of his other Blue Note records! Here, Grant's going for a "Latin bit" – adding in a trio of percussionists to spice up the groove with a bit of bossa rhythms, and some harder jamming styles that feel a lot like those used in some of the better Cal Tjader albums of the time. Willie Bobo's in the group on drums, and the only other accompaniment is piano, bass, and percussion – letting Grant run out nice and long on his solos, on a very hip set of tracks that includes "Tico Tico", "Mama Inez", "Besame Mucho", and "Mambo Inn". CD reissue also includes 3 bonus cuts, not on the original album – "Grenada", "Blues For Juanita", and "Hey There".

A real gem from Woody Shaw's greatest period – a very hip sextet session, recorded with Hayes, Cook, Shaw, and a rhythm section that includes Ronnie Matthews on piano, Stafford James on bass, and Guilhermo Franco on percussion. Tracks are long, and stretch out in that searching, modal style that Shaw was using a lot at the time – and although the Hayes/Cook team are listed as the leaders on the set, the record clearly owes a lot to Shaw's influence and style. Titles include "Ichi Ban", "Book's Bossa", "Brothers & Sisters", and a great take on "Moontrane".

Wonderfully groovy work from the team of Jackie Cain & Roy Kral – a set that has the pair moving into much hipper modes for the 60s, and really taking off from the greatness of earlier records! Backing is still by Roy's core trio, with acoustic piano at the lead – but the addition of electric bass to the lineup really helps the tunes step along nicely – hitting a groove not heard before from Jackie & Roy, with results that are completely sublime! There's a definite bossa influence that comes into some of the best tracks – a skipping, lilting approach to rhythm that's made even better by the unique dual vocals of the team, especially when they're singing wordlessly. But even when lyrical vocals are part of the mix, the sound is still great too – and Jackie & Roy have a way of bringing charm to a tune that few other singers can touch! Titles include "Lovesick", "A Big Beautiful Ball", "You Really Started Something", "Let's Begin", "Mimosa & Me", "Corcovado", "Samba Triste", and "The World Is Your Balloon".

The rare second album by the Jongo Trio – a fantastic bossa group who mixed together vocals and keyboards with stunning magic! The trio's approach is similar to that of the more famous Tamba Trio – in that the three members groove on keyboards, bass, and percussion – while also harmonizing vocals in a soaring, airy style that really adds a lot to the set. This album's got the group using a bit of organ and electric piano in addition to their usual acoustic keys – making for a bossa style that's slightly electrified, with great results on the album's overall sound. The set includes a really great uptempo version of "Aguas De Marco", plus the tracks "Alo Feveiro", "Quem Vem La", "Cavaleiro De Aruanda", "Sandalia De Prata", "Bate Barriga", "Feitinha P'Ro Poeta", and "Duas Contas".

A gem of a record from the lovely Joyce – a set recorded during the same key stretch as her early 80s albums for EMI – yet much more obscure! The album's got the same brilliant blend of jazz and bossa phrasing as her classics Agua E Luz and Feminina – and really brings Joyce's beautiful vocals to the forefront, with a strong focus on that fluid, jazzy style we totally love! Acoustic guitar is key to the instrumentation, yet there's also a few electric touches on keyboards – yet used quite softly, so that the presence of Joyce really dominates the record – but with a power that's greater than some of her more solo sets. Wonderful throughout –a nd with cuts that include "Nacional Kid", "Curioso", "Baracumbarra", "Tardes Cariocas", "Luz Do Chao", and "Ela".

One of the grooviest albums ever recorded by guitarist Barney Kessel – a sweet reworking of Henry Mancini's fabulous music for Breakfast At Tiffanys! The set's got a warm feel and more than a bit of bossa nova inspiration – similar to some of the other Kessel and Shorty Rogers projects for Reprise at the time – and the group features some wicked reed work from Bud Shank and Paul Horn, both of whom add some great color to the set – and make it way more than just another trio date from Kessel! The whole thing's wonderful – filled with favorites from the Mancini songbook – titles that include "Something For Cat", "Sally's Tomato", "Mr Yunioshi", "The Big Blowout", "Hub Caps & Tail Lights", "Breakfast At Tiffany's", "Latin Golightly", "Loose Caboose", and "Moon River Cha Cha".

A wicked collaboration between Dutch keyboardists Rob Franken and Jan Huydts – a set that has the pair of them really stretching out on Fender Rhodes, Arp, clavinet, and other keyboards – with only a bit of drums to back them up! Yet although the set's got a really freewheeling sort of feel, it's never too jamming – as both players have a strong inherent sense of rhythm that really keeps things on track – a great little groove that makes for a wonderful little record – one that comes off more like a familiar Fender Rhodes trio date than you might think! There's a nice degree of funk at points, but also some modal elements that really make the set cook – a vibe that's right up there with the best MPS keyboard-heavy sets, such as the classic early work by George Duke – although without any vocals here. Titles include "Absorbed Love", "Six Seven Eight", "Blue Bossa", "Protuberans", "Tamotua", "The Kumquat Kids", and "Basic Train".

A killer album of jazzy bossa grooves – originally recorded in France in the early 70s, and darn hard to find in any format! The record was cut for the tiny Saravah label – home to groovy French acts like Brigitte Fontaine and Areski, as well as an elite group of jazz and world musicians. The overall style is similar to bossa nova piano sessions coming out of Brazil in the 60s, but the groove is a lot freer, and the band has a nice rolling sound that might be compared to some of the MPS jazz/Brazilian crossover sessions. Fernando Martins is the pianist, and Edson Lobo is on bass. Titles include "Upa Neguinho", "Nascente", "Bia", "Noa Noa", "Samba Novo", "Berimbau", "Nao Tem Solucao", and "Muito A Vontade". Very nicely repackaged, too!

A real revolution in music from Japanese arranger Norio Maeda – a set that takes off with the same rich energy as his soundtrack work, but which also shows off all his keyboard skills as well! The range of styles here is great – from the "auto race" sound effects on the leadoff track, to the bubbling Hammond on a soul jazz number, to the complicated piano passages on a few more – always put together with a sharp ear for the most contemporary modes in early 70s Japan – a sense of style that really makes the album sparkle – in ways that are quite unique, even from other Japanese gems of this period! Titles include "Bossa Bossa Nova", "Cool Drive", "State Of Nature", and a number of other tunes with Japanese titles.

A very unique album by Sergio Mendes – recorded in LA in the years before his Brasil 66 albums for A&M – but with a sound that clearly shows him going for the new bossa approach! The album's got some lovely vocals by Wanda De Sah, plus occasional guitar work by Rosinha De Valenca – and backing is by Sergio's Trio, riffing away in a very tight jazzy groove that's right up there with the best of their early albums. Bud Shank also guests on a few tracks with some tasty alto sax solos – and titles include "Let Me", "Consolacao", "Tristeza Em Mim", "Muito A Vontade", "Reza", "Berimbau", and "Aquarius".

Sort of a repackaging of the Brasil '65 album on Capitol – done here in a pressing by Pickwick that features a very psychedelic cover! The record's a mixed bag of tracks that has some bossa piano trio stuff, plus some vocal cuts with Wanda De Sah, the alto and flute of Bud Shank, and the occasional guitar playing of Rosinha De Valenca. The album was recorded in LA by Capitol, and has a bright West Coast 60's feel that brings out the best of Sergio's style. Cuts include "Reza", "One Note Samba", "Berimbau", "So Nice", and "Consolacao".

An amazing return to form for this legendary Brazilian vocal group – quite possibly the best record we've heard from them in decades, and one of the few later sets to really capture the moody brilliance of their late 60s/early 70s work! The quartet work in a harmony mode, but one that's always been a lot darker than that of older contemporaries – such as Tamba Trio or Os Cariocas – in that MPB4 never think in strict jazz or bossa modes, but use these styles as a core, then move into deeper modes that are fleshed out with creative arrangements, and really wonderful vocal passages. This album really captures all that older charm of the group – thanks in part to arrangement help from Toninho Horta and Duofel – and titles include "Sabe Deus", "Contigo Aprendi", "Eu Amei Uma Vez", "Sabor Em Mim", "Noite De Ronda", and "Relogio".

A beautiful album of jazzy vocal tracks with a definite bossa feel, recorded by the group O Quarteto – a harmony group whose style is very reminiscent of earlier Brazilian ones – like Os Cariocas and The Tamba Trio! The record's a sparkling batch of bossa tracks, produced with an electric groove that's sort of similar to some of the late 70s MPS material – with soaring harmonies, warm keyboards, and a killer mellow jazzy groove – the kind of sound that was probably overlooked at the time, but which really sounds great all these years later! Titles include "Ceu E Mar", "Vo Ceitar E Rolar", "Desafinado", "Moca Flor", "Preciso Aprender A Ser So", and "O Barquinho". Very nice, and one not to pass up!

Dreamy genius from Piero Piccioni – one of our favorite Italian composers ever! This set does for Piccioni what the Mondo Morricone sets did for Ennio – in that it pulls together an assortment of his best tracks from late 60s and early 70s soundtracks – with a focus on the loveliest work of the period! Bossa rhythms meet bubbling organ, tinkling piano, floating voices, and other soft and pillowy elements – creating tunes that have a groove, but which are also topped off by lots of sweet easy touches. The collection features 20 tracks in all – and honestly, if you'd asked us to pick our favorites by Piero, we'd hardly have done a better job ourselves! Titles include "Cera Una Volta-Finale", "Capriccio", "Coming To The Point", "Il Dopolotta", "Sycamore Trails", "Nolan Theme", "Mystery", "Una Colt In Mano Al Diavolo", "Easy Dreamer", and "Amore In Fiore".

One of the best albums by this groovy piano/percussion combo who played a nice mix of bossa and soul jazz. The set has 2 nice originals with a deep groove – "Watusi Warrior" and "Sheryl Likes Bananas" – plus groovy covers of "Summertime", "Taste Of Honey", and "More". Nice stuff, and very cool mix of piano, bass, drums, and congas.

A treasure trove of work from Pery Ribeiro – an important Brazilian singer in the early years of bossa nova – and one who never got his due up here in the US! Pery's a singer who's rooted in jazz, but whose style turned out to be a perfect fit for the new modes of the bossa generation – recorded here in a mix of great arrangements that go from larger jazzy ensembles to more intimate combos – always with a strong focus on his expressive lead vocals! The package features all original albums with full artwork, and there's also a huge amount of bonus tracks too – material from singles, compilations, and other rare recordings during these very productive years for Pery. The package features the full albums Eu Gotso Da Vida (1961), Pery Ribeiro E Seu Mundo De Cancoes Romanticas (1962), Pere E Toda Bossa (1963), Pery Muito Mais Bossa (1964), and Pery (1965) – plus the album Encontro (1966) done with the Bossa 3 trio, and the classic Gemini V Show (1965), with some vocals by Leny Andrade and backing by the Bossa 3!

Wicked jazzy bossa from 60s Brazil – a crackling early classic from pianist Dom Salvador! The group here is super-tight – a tremendous triangle of piano, bass, and drums – all grooving at equal pace, with a great deal of energy – and given a heck of a lot of soul from Dom's bold lines on the piano! There's a slight lyrical vibe at points, too – making for music that's mighty sweet, and very seductive – and the whole thing's right up there with some of the best bossa trio dates of the time. Trio features bass by Edson Lobo and drums by Victor Manga – and titles include "Arrastao", "Promessa", "Pro Batera", "Santarem", and "Tematrio".

Incredibly groovy vocal work from Japan – a double-length album featuring work by a number of different groups! The first half of the set features the wonderful Singers 3 – a trio of female vocalists who sing together with a soaring, breezy groove that's totally great – one that reminds us of bossa styles and sound library modes, and which is backed by tightly rhythmic backings that make every track on the set a groover! The title number – "Foliole #2" – is an amazing 16 minute suite-type number that features the vocals really going wild – and other shorter tracks include versions of "Upa Neguinho", "Eli's Comin", "See See Rider", and "Ani Zanta".

Very cool and groovy bossa piano jams, given a modern twist by this Japanese group with one foot in the past and one foot in the future. Includes their great remake of Sivuca's arrangement of "Ain't No Sunshine", plus "Bayu Bayu", "Call Me Mr. Vibes", "Mambo Parisienne", and lots lots more.

Jazzy bossa rhythms and club soul grooves from the Dutch production team Subes! Subes is the trio of Gregor Wilmot, Pieter Ubbels and Aram Wilmot – who color from a broad palatte of global influences and the producers lay the sounds down with accompanying players on sax, flute, melodica, drums, bass and keys. A nice mix of live and programmed grooves with real depth! Titles include "Samba One", "Sognare", "Jazz Azz", "Jazz For 2", "Airporto", "Lost", "Contra Bossa", "Lost", "See You There", "Fast Spinn" and more.

An incredible album by the Tamba 4 – one of 2 albums the Brazilian bossa combo did in the US for A&M Records, during the brief time when they were expanded to a quartet from the original Tamba Trio lineup! The set is completely sublime – a wonderful mix of the group's trademark harmony vocals and crackling bossa rhythms, with the warmly flowing CTI production style of the time – not funky like the CTI sound of the 70s, but a bit more sophisticated than the style Creed Taylor had been using earlier at Verve. Tracks are short, breezy, and often very lively – bossa grooving warmed in the California sun – and titles include "Samba Blim", "Watch What Happens", "Pregao", "San Salvador", "Know It All", and "Palladium".

Beautiful stuff – and a record we never tire of hearing! This album's a sublime extension of the earlier Brazilian style of the Tamba Trio – in a set that has them adding a fourth member, and picking up some cool new sounds from producer Creed Taylor! The set brings the group's earlier blend of bossa jazz and vocal harmonies into play with Taylor's spacious sensibilities in the early days of CTI – that stretch when the label was partnered with A&M Records, in a mode that also echoes some of the best studio qualities of that imprint too! The songs are longer than usual – nicely stretched out in a beautiful blend of jazz, bossa, and voice – and tracks include a classic reading of Luiz Eca's "The Dolphin", a great take on "Canto De Ossahana", and the tracks "Flower Girl", "We & The Sea", and "Lemanja".

The stuff of legend – and one of the greatest albums ever from Brazil's Tamba Trio! The group have a sound here that goes way beyond standard bossa jazz – in that amidst the piano, bass, and drums, the trio also harmonize vocally too – swirling together the lyrics, which are often wordless, in these cool jazz riffs that are really amazing – soaring out above the instrumentation, to create a whole new layer of grooves! Arrangements are by the group's pianist, Luiz Eca – who really reaches a high point in his musical development here – and titles include the classics "Boranda", "Barumba", and "Consalacao" – plus "Yansa", "Moto Continuo", "Nuvens", and "Pregao".

The one and only solo album by Mario Telles – brother of the better-known Sylvia Telles, but an equally great bossa singer on his own! This rare date from the 60s features some wonderful arrangements by Baden Powell, Moacir Santos, and Astor Silva – all of whom bring Mario into some very Elenco-like territory – a blend of fuller strings and lighter bossa instrumentation, all touched with just the right amount of sadness! Some of the tunes are penned by Telles himself, and others are some great early Baden Powell/Vinicius De Moraes collaborations – beautiful material that really fits the mood of the music, as you'll hear on tracks that include "So Por Nao Saber", "Tem Do", "Aurora Do Amor", "Tristeza Vai Embora", "Dorme Em Paz", "Pra Que Chorar", "Bom Dia Amiga", and "Cavalho Marinho".

A groundbreaking piano trio from the end of the 60s – headed up by Brazilian jazz legend Gilson Peranzetta! Gilson's work has graced countless recent bossa revival sessions, as well as important 70s MPB albums – but this set was recorded back in 1969, when Peranzetta was a pianist trying to break out of the bossa stereotypes of the 60s generation. In doing so, he still used lots of the older trappings of bossa combo albums – sweet rhythms, gentle grooves, and lots of space for keyboard interplay – but he also worked in some more sophisticated arrangements, performed by additional horns on a number of tunes, working in small combo space the same kind of magic that Eumir Deodato would normally craft with a larger orchestra. The results are magically airy and appealing – and the set's a mix of original tunes and groovy covers, with titles that include "Samarina", "Manha Branca", "Afro", "Amazonas", "Watch What Happens", "Zond 5", "Sabia", and "Ela Vem De Volta".

A groundbreaking piano trio from the end of the 60s – headed up by Brazilian jazz legend Gilson Peranzetta! Gilson's work has graced countless recent bossa revival sessions, as well as important 70s MPB albums – but this set was recorded back in 1969, when Peranzetta was a pianist trying to break out of the bossa stereotypes of the 60s generation. In doing so, he still used lots of the older trappings of bossa combo albums – sweet rhythms, gentle grooves, and lots of space for keyboard interplay – but he also worked in some more sophisticated arrangements, performed by additional horns on a number of tunes, working in small combo space the same kind of magic that Eumir Deodato would normally craft with a larger orchestra. The results are magically airy and appealing – and the set's a mix of original tunes and groovy covers, with titles that include "Samarina", "Manha Branca", "Afro", "Amazonas", "Watch What Happens", "Zond 5", "Sabia", and "Ela Vem De Volta".

A bit less groovy than some of the other Armando Trovajoli scores of the late 60s – but a soundtrack that's still got some wonderful musical moments! The film's a period piece, and the instrumentation is somewhat more traditional than some of Trovajoli's modder or bossa moments – but the change is a nice one, and shows a richer, more complicated side of his music – especially on the few tracks that feature vocals from the lovely Edda Dell'Orso. Titles include "Nell Anno Del Signore", "Addio", "I Carbonari", "Paolina", "Tema De Giuditta", "Sapessi Quanto Amore", and "Coro Della Morte".

A host of dreamy soundtrack tunes – all from the magical pen of Piero Umiliani – easily one of the best of the late 60s/early 70s Italian scene! Umiliani hit worldwide fame for his "Mah Na Mah Na" tune from the film Sweden Heaven & Hell – which is included here – but he also worked on countless other great soundtracks during the same period – all in styles that run from jazzy instrumental to scatting vocal, mod Hammond, spy spoof, bossa beat, and more! The package is a great introduction to Umiliani's rich legacy of music – and features 30 tracks from 10 different films – some of which we haven't seen on CD in awhile. Titles include "Requiem Per Un Agente Segreto", "Isola Tuttofare", "Mah Na Mah Na", "Due Mafiosi Contro Goldfinger", "Due Mafiosi Contro Al Capone", "Cinque Bambole", "Luna D'Agosto (version 3)", "Un Posto Per Un Addio", "Crystal", "Bob & Hellen", and "La Fidanzatina".

Really tremendous work from Caetano Veloso – an album as striking as its cover image, and a record that shows that, yet again, Veloso is one of the few of his generation who's kept growing as a creative artist! The sound is wonderful – very similar to the recent albums Ce and Zii & Zie – and put together with very fresh production from Moreno Veloso and Pedro Sa, who really seem to understand the new ideas Caetano's going for – yet also respect the intimate charms that have always made his work so wonderful in the first place. The sound is beautifully balanced – often spare enough to let the vocals really take center stage, with lots of acoustic elements in the mix, sometimes given just the slightest sort of crackle in the studio. The whole thing's great – a record that we'd rank right up there with Caetano's most creative from the classic years – and titles include "A Bossa Nova E Foda", "Um Abracaco", "O Imperio Da Lei", "Quero Justa", "Um Comunista", "Vinco", "Quando O Galo Cantou", and "Parabens".

Forget the silly cover on this one – and go straight for the grooves! The album's a wonderful bossa session from the 70s – recorded live by pianist Luiz Carlos Vinhas, best known for his groundbreaking work with the group Bossa Tres! Vinhas plays acoustic piano in trio format – in a mode that's similar to his classic work of the 60s, but with a style that's more complicated, more far-reaching, and which shows that his lyrical powers had only increased with time. The tunes flow along very nicely in combinations of bossa and American tunes – wrapped together with pianistic magic by Vinhas, and recorded with a very lively feel! Titles include "Minha/Fotografia/Waves", "Zazueria/Asa Branca", "Festa/O Barquinho/Surfboard", and "What's New/This Guy's In Love/Que Maravilha/Nao Tem Solucao".

One of our favorite albums ever from Walter Wanderley – a set that's much more complicated than his earlier trio records for Verve – and which really expands the sound with a host of added elements! Wanderley's core organ bossa groove is amplified wonderfully here with the addition of guitar, vibes, horns, and other elements – all of which help to change the rhythms and move the groove way past just simple stock bossa. Walter plays a bit of electric piano too – hinting at work on later albums – and other players include Jerome Richardson on flute, Bobby Rosengarden on vibes, John Pizzarelli on guitar, and even a bit of vocals from Marge Dodson. There's a wonderful variety of tunes on the set – including Joao Donato's "Amazonas", Baden Powell's "Canto De Ossanha", and Bob Crewe's "Music To Watch Girls By" – plus other gems like "Sensuous", "Sambao", "Arrinho Atoa", "Kee Ka Roo", and "The Bobo".

Some of the earliest work ever recorded by keyboardist Walter Wanderley – but a set that shows his sweet bossa talents already in full swing! The groove here is light an airy – recorded with a similar sense of space as his better-known sides for Verve, but done with a feel that's a bit less polished overall – one that has some rootsier samba percussion at the bottom of most tunes, dancing underneath sweetly gliding melodies on organ and electric guitar! A few tunes have a bit of chorus vocals, which only serve to warm up the sound even more – and titles include "Palhacada", "Boato", "Nao Sabemos", "Agua De Beber", "O Samba Brasileiro", and "Murmurio".

A record of incredible beauty from the great Leo Wright – and one that we'd never part with at all! Wright's one of those excellent players from the 60s who never really gets his due – largely because he was always hiding behind larger groups, and because he left the US in the decade for an extended stint in Europe. Still he cut some fantastic early work with both Dizzy Gillespie and Lalo Schifrin – and this album captures him right during the peak of that early period! The record features light lively backing from a quartet that includes Kenny Burrell on guitar, Ron Carter on bass, and Rudy Collins on drums – and some tracks have a beautifully groovy sound that's slightly bossa, slightly soul jazz. One of the best of these is Wright's great cover of "A Felicidade", but the record contains many other great moments, like "The Wiggler", "Tali", "Sassy Lady", and "Dionysis".

A pretty amazing little package – one that traces the evolution of 100 years of Brazilian music – with an especially strong focus on the best styles of the 20th Century! The performance is a live one – and features a host of talents, both famous and lesser-known – all very well suited to the genres they've chosen to tackle here – which includes a wide range of music from choro through bossa and samba – and even some of the more popular lyrical modes of the postwar years. Most numbers have a relatively earthy feel – almost like some of the Discos Marcos Pereira projects of the time – and artists include Luiza Gonzaga, Johnny Alf, As Gatas, Cauby Piexoto, Jackson Do Pandeiro, Alaide Costa, Doris Monteiro, Pery Ribeiro, Lucio Alves, Beth Carvalho, Cartola, Elza Soares, Paulina Da Viola, Roberto Silva, and many others. Box set features all of the 8 original albums – packaged together in one sweet collection!

Not so much an introduction to Latin jazz, as it a wonderful collection of Latin-tinged tunes from the mighty catalog of Blue Note Records – and not just New York and Cuban Latin grooves, but also a fair bit of bossa nova and Brazilian sounds too! The 3CD package is overflowing with goodness – and titles include a range of killer Blue Note gems from the 60s – plus related cuts from labels like Capitol, Liberty, and World Pacific. The groove changes nicely throughout the set, and the instrumentation is superb – as you'll hear on cuts that include "Sandalia Dela" by Duke Pearson, "Chitlins Con Carne" by Kenny Burrell, "Loie" by Ike Quebec, "Samba De Orfeu" by Charlie Rouse, "Bossa For Baby" by Hank Mobley, "South Of The Border" by Lou Donaldson, "Rhapsodia Del Maravilloso" by Sabu Martinez, "Minors Holiday" by Kenny Dorham, "Congalere" by Horace Parlan, "Ghana" by Donald Byrd, "Latin Fever" by Jack Costanzo, "No Problem" by Jerome Richardson, "Girl From Ipanema" by Lou Rawls, "Rojo" by Bobby Hutcherson, and "Thousand Finger Man" by Candido. 38 tracks in all!

Way more than just an introduction – and instead, an amazing collection of bossa nova gems – 48 tracks pulled from the vaults of the legendary EMI/Odeon label – home to some of the best bossa work ever recorded in Brazil! The package is a treasure through and through – filled with key classics, overlooked gems, and the kind of weird and wonderful bossa numbers that never made it here to the US – but which have made digging for Brazilian records a favorite pastime of ours for decades. Most tracks here are from the 60s, and the set runs from straight bossa numbers to others that use bossa as a starting point, then take off into great new territory. Titles include "Ao Amigo Tom" by Doris Monteiro, "A Resposta" by Marcos Valle, "Voce" by Milton Banana Trio, "Deixa Eu Dizer" by Claudia, "A Ra" by Joao Donato, "Eh Mundo Bom Tai" by Johnny Alf, "Agua De Beber" by Neco, "Onde Anda O Meu Amor" by Bossa Tres, "Fotografia" by Sylvia Telles, "Por Causa De Voce" by Marisa, "Outra Vez" by Elizeth Cardoso, "Inutil Paisagem" by Dick Farney, "Ho Ba La La" by Norma Benguell, "Estamos Ai" by Leny Andrade, "So Tinha De Ser Com Voce" by Eumir Deodato, and "Misturada" by Quarteto Novo.

A blistering set of bossa-tinged jazz – truly the cream of the crop of the Brazilian scene from the 60s and early 70s! The package is great both as an introduction to bossa jazz, and as a capper if you've ever heard any of the genre – an essential collection that not only features key tracks, but some rare gems as well – beautifully packaged, and remastered with sound that's way better than any of your old scratchy records! The approach here is wonderful – quick-stepping rhythms, soaring instrumentation, and a way of putting together a groove that's quite different than American or European jazz at the time – even during those eras when bossa was having a strong influence upon those scenes. And sure, in later years, some Brazilian-inspired projects from other territories could sometimes be a bit weak – but these cuts are the originals, and are filled with life, imagination, and originality that oozes forth from the very first note! 2CD package is beautifully put together, with a nice booklet too – and titles include "Birimbau" by Dom Um Romaeo, "Xibaba" by Airto, "San Salvador" by Tamba 4, "A3" by Som Imaginario, "Solo" by Meirelles E Os Copa 5, "Improviso Negro" by Sambalanco Trio, "Vento Bravo" by Edu Lobo, "Batucada" by Luis Carlos Vinhas, "Consolacao" by Tenorio Jr, "Like A Rainy Night" by Salinas, "Zazueira" by Balanco Trio, "Das Tardes Mas Sos" by Paulo Moura, "Bebe" by Eumir Deodato, and "Patumbalacunde" by Joao Donato.

Stupid title, but a nice little set of grooves that takes material from both Brazilian and American bossa sources – in a manner that's similar to the wonderful Trip To Brazil compilation we've stocked for years! A few of these are sure to be ones you have, but there's also a huge amount of obscurities that are nicely selected and mixed together in a warm wonderful easy groove. Titles include "Lamento" by Nelson Riddle, "Canto De Ossanha" by Bossa Jazz Trio, "Samba De Uma Nota So" by Lalo Schifrin, "Exotique Bossa Nova" by Martin Denny, "Mas Que Nada" by Odell Brown, "Samba Pro Pedrinho" by Pedrinho Mattar Trio, "Berimbau" by Os Cincos Pados, "Chora Tua Tristeza" by Geraldo Trio, and "Cheiro De Saudade" by Os Cobras. 20 cuts in all!

A very cool batch of tracks that mixes together a wide range of bossa groovers from the 60s! The set features Brazilian-based classics, plus other groovy tunes from American albums that fit in just as well with the dreamy mix of tunes. Titles include "Baia" by Bill Perkins, "Jive Samba" by Jon Hendricks, "Amazonas" by Som Tres, "E Bom Assim" by Os Cobras, "The Man From THRUSH" by Lalo Schifrin, "Mestico" by Wilson Simonal, "Vou Te Contar" by Quarteto 004, "O Pato" by Lennie Dale, "Sambo Do Carioca" by Silvio Cezar et Meirelles, "Boranda" by Edu Lobo, and "Samba De Verao" by Sergio Mendes & Wanda De Sah.

4th volume in this excellent series – and the groovy grooves are still running strong! As the title implies, the set's a blinding batch of rare bossa and samba tracks, mostly all of 60s vintage, from a blend of American and Brazilian sources. There's loads of great cuts on here that have gotten lost on LPs over the years – and titles include "Groovy Samba" by Cannonball Adderley, "Bossa Nova Ova" by Billy Mitchell Quintet, "Sambou Sambou" by The G/9 Group, "Os Grilos" by Walter Wanderley, "Onde Anda O Meu Amor" by Bossa Tres, "Vai Pr'a Frente" by Os Copa Vips, "Caminho De Casa" by Joao Donato, "Oo Oo Bossa Nova" by Milt Jackson, "Boranda" by Sergio Mendes, "Mas Que Nada" by Oscar Peterson, and "Batucada Sergiu" by Luiz Carlos Vinhas. The CD also contains the bonus tracks "Bossa" by Donald Byrd, "Corcovado" by Stan Getz and Laurindo Almeida, and "Sausalito" by Dave Pike.

An excellent idea for a bossa nova compilation – one that pulls tunes from groovy soundtracks of the 60s! The work on the set is of both American and European origin – and focuses on the kinds of tunes that often showed up in some of the best soundtrack work by our favorite 60s composers – light, jazzy numbers that were clearly inspired by the bossa, but which also felt free to expand a lot on the style – using interesting instrumentation, rhythm changes, and even a bit of vocals to highlight the tune in really great ways. Some tracks are straight off of soundtrack albums, and others are soundtrack tunes, lifted from jazz albums – but altogether, they make for a wonderful collection of work – with titles that include "Silvia" by Lalo Schifrin, "Mutiny On The Bounty" by Bob Brookmeyer, "The Bobo" by Francis Lai, "Bossa Nova In The Restaurant" by Ken Thorne, "Bossa Des Teurs" by Vladimir Cosma, "I Like The Look" by Henry Mancini, "Mr Lucky" by Jack Wilson, "Deiter's First Mistake" by Quincy Jones, "Naked City" by Laurindo Almeida, and Dax Rides" by Antonio Carlos Jobim.

Brazilian grooves old and new – a really surprising selection of work from the Candid and Choice record labels – showing a commitment to bossa that we never expected! Most of the tracks here are recent vintage – recorded in the past decade or so, and mixed with a few older gems – and all have an approach that's heavy on the jazz we expect from Candid, yet which also serves up the goods in a style that's every bit what we might expect from a Brazilian-based label! Vocals are mostly in English, but sometimes in Portuguese – and instrumentation is mostly acoustic, with a fair bit of percussion and guitar that really help drive home the Brazilian flavor of the tunes. Titles include "Arrastao" by Monica Vasconcelos, "In The Still Of The Night" by Clare Teal, "Blue Moon" by Jacqui Dankworth, "I Concentrate On You" by Stacey Kent, "The Gentle Rain" by Irene Kral, "Beatrice" by Ingrid Laubrock, "Com A Perno No Mundo" by Guinga, and "Para Raio" by Nois4.

The start of a legend – and a key compilation to document the rich reworkings of Brazilian sounds in the 90s global scene! The collection is the first in the legendary series – and has a wider range than some of the others – as Schema moves past just their own recordings, and incorporates some key sounds from other labels as well – a number of which are now out of print. Given that most numbers here – at least these mixes – were only around on 12" singles, the collection is especially essential – and filled with gems that stand up well – and really set the blueprint for grooves in years to come! Titles include "Atabaque" by Jazzanova, "Servus Mr. Bond" by Les Gammas, "Outboard Jeopardy" by Modaji, "What's Your Number" by Ian Pooley (remixed by Jazzanova), "The Will Of Life" by DJ Matsuoka, and "Galacia" by Rainer Truby Trio.

Groovy jazz from 2 very cool labels – the related Skye and Gryphon companies of the late 60s and mid 70s, respectively – home to some very very cool bits! Skye's best known as the home of Cal Tjader and Gary McFarland in their post-Verve years – and the label's got a feel that's very much in the spirit of both artists – often blending together jazz, Latin, and easy grooves with a dreamy floating sort of quality. Gryphon recordings came a few years later – and had a warm and mellow 70s jazz sort of feel – using richer production to deeply color work by a variety of well-known artists who got a chance to stretch out in their albums for the label. Despite the difference of a few years between them, the work from both labels sits very nicely together here – thanks to an expert job of compilation by Toru Hashimoto, the force behind the Café Apres Midi and Free Soul series! Titles include "Mixing" by Airto, "What's Going On" and "My Favorite Things" by Louis Hayes, "Tandoori" by Barry Miles, "Flea Market" and "Suburbia" by Gary McFarland, "Theme From Peter Gunn" by Chuck Rainey, "Don't Fence Me In" by Grady Tate, "Viva Peraza" by Armando Peraza, "La Pasionaria" by Michel Legrand, "You'll Never Get To Heaven" and "Armando's Bossa" by Cal Tjader, "Bluesette" by Mel Torme & Buddy Rich, and "Change Partners" by Phil Woods.

Funky soul, righteous jazz, and hip production made the Flying Dutchman label one of the greatest imprints of the early 70s! The label was the brainchild of producer Bob Thiele, and was a post-60s project to bring together unheard voices in African American culture – recording heavily in a number of genres that included jazz, funk, soul, and Latin – cutting records that were destined to become instant classics, most of which are still pretty darn influential today! This set does a great job of starting to unpack the wealth of work on Flying Dutchman – bringing together tracks by a few familiar acts, and other lesser-known artists, a few who have rarely been reissued. Titles include "Carnavalito" and "Maria Domingas" by Gato Barbieri, "Mama" and "Chains Of Love" by Esther Marrow", "Baja Bossa" by Oliver Nelson, "Whatcha See Is Whatcha Get" by Pretty Purdie, "Save The Children" and "I Think I'll Call It Morning" by Gil Scott Heron, "The Creator Has A Master Plan" by Louis Armstrong & Leon Thomas, "Echoes" by Leon Thomas, and "Footprints" and "Astral Travelin" by Lonnie Liston Smith.

Bossa Nova singers from both sides of the equator – in a groovy collection of work recorded both in Brazil and the US! The set's a wonderfully done exploration of the true range of bossa talents in the 60s – and it features both stars from the Brazilian scene, plus other artists who managed to cross over to US audiences, and got a chance to record for labels like Verve and A&M – all presented without cliche, and without too many over-heard bossa standards – a really fresh set overall, and very much up to the high level we expect from the Jazzclub series! Titles include "Oba La La" by Jorge Ben, "Berimbau" by Nara Leao, "Mas Que Nada" by Luiz Henrique, "So Tinha De Ser Com Voce" by Elis Regina, "Fim De Noite" by Chico Feitosa, "Samba Da Pergunta" by Marcia, "Agua De Beber" by Quarteto Em Cy & Tamba Trio, "O Barquinho" by Lucio Alves, "Bim Bom" by Astrud Gilberto, "Bloco Do Eu Sozinho" by Joyce, "Reza" by Elis Regina & Tamba Trio, "The Face I Love" by Marcos Valle, and "Voce" by Dick Farney & Norma Bengell.

Don't let the title or the bunny on the cover put you off, because there's nothing toy-like about these tunes – and the package is an excellent batch of rare German grooves put together with the same high level as other collections on the Perfect Toy label! Ex-Spinning Wheel mainman Marcus Hacker put together this one – and the grooves remind us a lot of some of the older SW sound library compilations – all awash in flavors borrowed from Brazilian bossa, American funk, Brit easy, and other genres – remodeled into a German economic miracle mode by a variety of jazz and studio players! The sound here is really really fresh – funky, but with lots of odd little touches and unusual instrumentation – a bit in the In Kraut mode, but more direct overall, and slightly less kitschy (although the set does have a few charming moments in that respect.) A number of tracks have vocals – some sung, some scatted – and titles include "Photographs" by Swegas, "Cameleon" by Kaate Frits Quartet, "Drift" by Orchester Heinz Kiessling, "Soul Samba" by The Earthquakers, "Guarana Guaranar" by Grupo Veneno, "Sara" by The Voices, "I Mimi" by Idili Tsaliki, and "Memories Of Yesterday" by Othella Dallas.

An amazing document of a short-lived, but really incredible genre – the 50s mix of R&B and Latin-inspired rhythms – particularly the heavy piano of a mambo-styled groove! The sound seems an unlikely mix, but it's one that you've no doubt heard on a few famous Atlantic Records singles from the time – taken up here by a host of much more obscure artists, who really know how to make the rhythms leap along with the grooves! The approach has definite echoes of New Orleans R&B, particularly in its use of the piano in heavy comping lines – but there's also a much wider sound going on too, especially in the way the percussion often drives the tunes in really unusual ways. The album's overflowing with amazing tracks – and titles include "Salty Dog" by Marvin Phillips, "Big Joe Mambo" by Fay Simmons, "Mambo Mexicana" by Gerald Wilson, "Snake Charmer" by Mad Man Jones, "Boppin With The Mambo" by The Sultans, "Honeydripper Mambo" by Alfredito, "A Dream" by Billy Red Love, "Pu Chun Ga" by Elene Madera, "Cozy & Bossa" by Cozy Cole, "Shrinking Up Fast" by Camille Howard, "Take A Chance On Me" by Annisteen Allen, "Eee Ooo Voodoo" by Red Callender, and "Down To The Bottom" by Larry Dale.

Incredible music from a very groovy Italian cartoon – the early 70s La Linea, based around a simple line figure with a very talkative approach to life! The CD brings together music and sound effects from the La Linea cartoons – including some prattling from the main character himself, set alongside groovy tunes that have lots of jazzy flourishes! Much of the work on the set was done by Franco Godi, who also handled the great Signor Rossi cartoon music – and the style here is a similar frenetic blend of jazz, scat vocals, bossa rhythms, and just about anything else that appealed to the cooler side of Italian listening at the end of the 60s! Titles include "Linea Cinque Ipaziente", "Linea Cinque Originale", "Sonatore Di Wild West", "Linea Cinque Bossa", "Baiubadu Breve", "Linea Cinque Chitarra", and "Trazom AW Edit". This pressing of the CD features 7 bonus tracks too – material that wasn't on the previous version!

Soulful luxury at a mighty nice price – 3CDs and 35 tracks of music from both the contemporary underground, and back in the day! The package is one of the best so far in this annual series – and like the others, it has a great way of turning up unusual numbers we might have missed otherwise – some subtle gems and overlooked sleepers, which makes the package as much of a place for new discovery as it is a musical bargain. Titles include "So Inspired" by Big Brooklyn Red, "Suddenly" by Adriana Evans, "On The Rebound" by Dave Appell & Friends, "When I Think Of You" by Holloway & John Whitehead, "Rise" by Beggar & Co, "Someday We'll All Be Free (Yam Who rmx)" by Diplomats Of Soul, "Just Like Me" by Junk Funk, "Major Bossa" by Khari Simmons, "Loving You" by Soul Talk, "Believe" by Lady Alma, "Blown Away" by Kevin Leo, "Time For The Party" by Sheree Brown, "Taste of Your Love" by Valentine Brothers, and "Dime" by Kloud 9.

Sublime bossa groovers from Italy! The first volume of this series was one of our favorite compilations that year it was released – and this second volume is equally as great! Schema groover Gerardo Frisina serves up a hand-picked batch of 16 tunes, mostly classic numbers from the late 60s and early 70s, pulled from the ranks of Italian soundtrack, jazz, and easy listening albums – all with a flair for making the bossa even groovier than it already is! Electric keyboards abound – and the rhythms run from dreamy to driving to slightly funky, always at the right pace for the material, and always making the set dance with delight! Titles include "Incontro All'Aereoporto" by Piero Piccioni, "Allora, Il Treno" by Bruno Nicolai & Edda Dell'Orso, "Avances" by Gerardo Frisina, "Wind" by Red Redford Sound System One, "Bossalonga" by Mustang, "Unreality Landscape" by Angel Pocho Gatti, "Susan Theme" by Daniele Patucchi, "Per Lei" by Stefano Torossi, and "Colpa Tua" by Giancarlo Gazzani.

60s bossa and samba treasures compiled by Nicola Conte – Vol 3 in the wonderful, eye-opening and ear-pleasing Viagem series on Far Out – featuring the deepest cuts of the series to date! This third set features gems by Dalmo Castello, Bossa Trio, Claudia, Vera Brasil, Luiz Carlos Sa, Werther, Kazinho and more – from a wider span of material, with recordings ranging from the early 60s up until around 1970, bossa and samba jazz heavy numbers, some quite soaring and others with more rumbling Afro rhythms. It's groovy material, but passionate and often political – deep stuff, and including some numbers we've never heard before, which is always an exciting thing around here! Titles include "Fora De Hora" by Dalmo Castello, "Voce Que Nao Vem" by O Trangulo, "Sem Fim" by Marisa Baroso, "Chegar De Brigar" by Henrique Benny, "Macumba" by Claudia, "Copa 70" Brasil 40 Graus, "LItoral" by Werther, "Tema Em Do" by Bossa Trio and more. 18 tracks in all.

A fresh, breezy and brilliant compilation of rare Brazil – wonderful material from the early 60s through the end of the decade – the fourth in the Viagem series compiled by Nicola Conte, and it's the best yet! Viagem celebrates the jazzier side of 60s Brazil – bossa, samba and rawly rhythmic Afro-Brazilian grooves inspired by the best and freshest jazz of the US and European scenes. It's deep stuff, too – with a lot of great material we're hearing for the first time! We always expect the moon from Nicola Conte – whether it's his own modern, though classic jazz-inspired grooves – or in his role as a masterful, generous compiler. The man delivers every damn time! Includes "So Balanco" by 7 De Ouros, "Consolacao" by Myrzo Barroso, "Outra Vez" by Bossa Jazz 3, "Balumba" by Anilza Leoni, "Cute" by Bwana Trio, "Ponto De Vista" by As Compositoras, "Batucada Surgiu" by Marcos Moran, "Saudade Vem Correndo" by Bossa Nova + 5, "Te Quero Assim" by Rosana Tapajos, "Gusto Do Que E Bom" by Shirley E O Tuca Trio, "Pandeiro Triste" by Betinho Do Vibraphone and more. 17 tracks in all.

Groovy, moddish, magnificent and sunny girl pop from The Land Of The Rising Sun – pummeling drums, jumping arrangements and groovy vocals from the mid-to-late 60s Japanese scene! This is fantastic stuff, any kitch or novelty appeal you might be expecting is kind of muted by the exceptional quality and excellent performances – but it is flat out fun! As the title states, strains of pop, beat & bossa – plus mod & psychedelic fuzz – and the vocals girl group vocals are bright, rocking, playful or sultry or innocent depending on the groove! 25 tracks in all: "Black Room by Jun Mayuzumi, Sharock No 1" by Mie Nakao, "Nagisa No Tenshi" by Mieko Hirota, "Hatsu Koi No Letter" by Miki Obata, "Bazazz Tengoku" by The Cupids, "Aeba Suki Suki" by Margaret With Bunnys, "Nukui Aitsu" by Mika Nohira, "Kiiro No Sekai" by J Girls and more.