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Unreleased genius from the vaults of ECM – a double-length live set from the Magico trio of Jan Garbarek on reeds, Egberto Gismonti on guitar and piano, and Charlie Haden on bass! The trio have a wonderfully balanced sound – completely evocative and filled with soul – spacious, yet never sleepy – as the voice of each individual player is given plenty of room for expression, but also comes together in this rich new sound that's a great illustration of ECM at its finest. Garbarek's tenor and soprano sax seem to have a deeper sense of soul than usual in this setting, Gismonti's guitar lines are especially warm and personal, and the bass of Haden always shines in a format like this. Titles include "Folk Song", "Spor", "Carta De Amor", "Two Folk Songs", "Palhaco", "Branquinho", and "La Pasionaria".

Strange and wonderful work from one of our favorite Brazilian artists – and a set that's put together with all the best complications of Egberto Gismonti's early years! The record is one of Gismonti's last true works of genius – and it hearkens back to the sound and style used on some of his earlier EMI albums, with interweaving guitar, piano, strings, and odd assorted sounds, all coming together in an incredibly hard to describe melange – but one that's filled with emotion, soul, and rich imagination! A few tracks have a nice jazzy groove, and others have a darkly serious edge – and together, they take the whole thing way past the simpler sound of his later ECM recordings. Titles include "Ta Boa Santa?", "Palhaco", "Magico", "Karate", and "Equilibrista". Fantastic!

A beautiful set from the mighty Egberto Gismonti – as up-close and personal as you'd guess from the image on the cover! The set's a bit less wild than some of Egberto's 70s material, yet it's still a lot fuller and more jazz-based than any of his recordings for ECM too – lots of right Brazilian jazz lines, soaring out with complicated rhythms, and a really free, soulful spirit in the solos! Egberto plays a fair bit of acoustic piano, and a bit of keyboards as well – and the album also features saxes and flute from Mauro Senise, bass from Zeca Assumpcao, and drums and percussion from the enigmatic Nene. Titles include the great cut "Loro", with a tight snapping snare, throbbing electric bass, and hard reeds all the way through – plus "Don Quixote", "Passarinho", "Em Familia", and "Sanfona".

Pure magic from the young Egberto Gismonti – a sublime early record for Odeon in Brazil, and worlds different from his later fame on ECM! The album's got a great sense of depth – tunes that begin with Gismonti's personal vocals and guitar, but which quickly move into offbeat arrangements that are as inventive as they are ambitious! The vibe is very similar to his classic album from 1973 – Arvore – and is colored with the sort of soul and vibrant energy that you'd also hear in Milton Nascimento's best work of the time – and that of the whole Minas Gerais gernation. Gismonti plays a fair bit of piano – even some Fender Rhodes, which is great – and Lindolfo Gaya helped with arrangements, which gives the whole thing that sweeping, majestic feel of the best EMI/Odeon sides from this time in Brazil. Titles include "Janela De Ouro", "Vila Rica 1720", "Eterna", "Ano Zero", "Prum Samba", "Aqua & Vinho", "Mule Rendeira", and "Volante".

An amazing tribute not just to the rich imagination of the young Egberto Gismonti – but also to the vivid sound of Brazilian music in the 70s! The album leaps past any easy definitions – as bits of jazz, MPB, serious scoring, folkloric styles, and other elements come into play – often in the space of a single song – and Gismonti's own keyboards and guitar are mixed with really collaborative efforts from Joyce, Danilo Caymmi, Marcio Montarroyos, and other leading lights of the Brazilian underground at the time! The tunes are quite visionary – in a way that's as sublime as Gismonti's legendary 1973 album – and production is other-worldly, at a level that few Anglo albums could hope to match at the time. Titles include the classic "Cafe" – plus Baiao Do Acordar", "Danca Das Cabecas", "Carmo", "Polichinelo", "Trem Noturno", and "Ano Zero".

Mindblowing sounds from Egberto Gismonti – a record that's unlike anything else we can think of – and quite different than any of Gismonti's later, better-known records! There's still some of Egberto's inventive acoustic guitar in the mix – but the instrumentation really opens up far past just that element – a beautiful blend of voice, strings, Fender Rhodes, and more – wrapped up with a sense of majesty and creativity that we'd rank right up there with the most inspiring work from Marcos Valle or Hermeto Pascoal from the time! And the record's got a bit of both – the modernism of Hermeto, mixed with the personal warmth of Marcos – yet is clearly Gismonti's very own, very individual expression as well. Titles include the massive cut "Salvador" – plus "Luzes Da Ribalta", "Variacoes Sobre Um Tema De Leo Brouwer", "Encontro No Bar", "Adagio", and "Memoria E Fado".

An incredible bit of Brazilian music – both funky and baroque, with amazing compositions by Egberto Gismonti, and great production by Roberto Menescal! The record's got swirling strings, off-kilter piano, and rolling basslines – with a groove that's impossible to describe, and which is indescribably beautiful! We love this one to death, and never tire of playing it. Darn hard to find in any format, and with the tracks "Janela De Ouro", "Ciclone", "O Mercador De Serpentes", and "Lendas" – plus a version of "Sonho" that's different than the one on the album from 1969.

A beautiful tribute to the music of Egberto Gismonti and Hermeto Pascoal – but presented in a fresh style that's very different than the originals! Gismonti and Pascoal were two of Brazil's most inventive composer/musicians of the 70s – both very open to new sounds, new rhythms, and new ways of putting instrumentation together – often with complex larger arrangements that really moved past any sort of simple styles or genre conventions! Here, pianist Andre Mehmari and mandolinist Hamilton De Holanda take things back to basics – and offer up these beautifully intimate readings of tunes by both composers – but with really lively instrumentation that still recalls all the deftness you would have heard from either of the original musicians. Holanda's work on the strings has never been more complex – or more magical – and Mehmari's got a rhythmic pulse and way of serving up colors at the same time – a beautiful style that really comes through on tracks that include "Frevo", "Sao Jorge", "Sete Aneis", "Palhaco", "Fala Da Paixao", "Bebe", and "Loro" – plus a few original tribute numbers by the duo too! And as a special bonus, both Gismonti and Pascoal each guest on one number in the set!

A massive collection of work from the lovely Wanderlea – all her key albums from the 70s, presented with bonus tracks too – in a box that also contains a full extra CD of rare material as well! Wanderlea's got a style that's maybe a bit more sweet than some of the usual Brazilian singers we stock – not really commercial, at least not from an American 70s pop perspective – but a bit more towards the Brazilian mainstream of the period. Yet there's still a nice edge here – kind of a female pop evolution from the EMI/Odeon style of the start of the decade – with arrangements that still sound refreshing, and songs written by some of the better talents of her generation – including Egberto Gismonti, Gonzaguinha, Caetano Veloso, Joyce, Joao Donato, and Roberto and Erasmo Carlos. The box is a wonderful introduction to her work – and features the full albums Maravilhosa, Feito Gente, Vamos Que Eu Ja Vou, Mais Que A Paixao, and Wanderlea – plus the especially nice Raridades CD – which brings together unusual singles and odd recordings!

A soaring set of grooves from one of the world's greatest percussionists – a standout set as a leader from Airto, and a key set in his wonderful run of work from the 70s! The album's still got the loose, free feel of Airto's earliest work, and isn't nearly as crossover-oriented as some of the Flora Purim sets from the time – still strongly in a rootsy, earthy sort of vibe – and produced with a very respectful sound by Herbie Hancock. Herbie plays some Arp on the record, and Wayne Shorter brings in some soprano sax too – but the core elements of the album are Airto's range of percussion instruments, keyboards and piano from Egberto Gismonti, drums from Roberto, trombone from Raul DeSouza, and a bit of vocals from Flora. Titles include "Flora On My Mind", "Cafe", "The Magicians", "Tales From Home", "Identity", and "Encounter".

A classic batch of Bay Area Brazilian grooves – recorded in the sweet breezy electric style of the Fantasy studios, and featuring the vocals of the lovely Flora Purim in the lead! The session's got a great mix of Brazilian and American fusion players – including Airto (of course!), Ron Carter, George Duke, Egberto Gismonti, Alphonso Johnson, Robertinho Silva, Hermeto Pascoal, and Ndugu Leon Chancler. Pascoal's reed work is a very nice treat, especially over the warm keyboards of George Duke. Purim's voice is as wonderful as ever, and the album's got lots of nice numbers, like "Ina's Song", "Andei (I Walked)", "Time's Lie", and "Open Your Eyes You Can Fly".

Beautiful reed work from Mauro Senise – spun out over some really creative arrangements that have him sounding even more fluid and expansive than ever – and recorded with help from great guests who include Hermeto Pascoal, Egberto Gismonti, Wagner Tiso, Edu Lobo, and Gilson Peranzzetta! Given that Mauro's helped out most of these artists over the years, the sense of collaboration here is really warm and rich – that great Brazilian instrumental way of sounding expressive, yet never in an overly-emotive or cloying sort of way – easily moving through some classic references, but always with a sense of fresh discovery too. Titles include "Choro Bandido", "Ondine", "Choro Sim Porque Nao", "Tie Sangue", "Bodas De Prata", and "Mauro E Ana". DVD features one more track than the CD, too!

Jazzanova did such a great job on Blue Note Trip Vol 4, the label decided to have them back for one more journey – and this time around, they've expanded the range of their groove even more than before! In addition to the classic jazz from Blue Note that Jazzanova spun the last time, this collection also features a fair bit of soul, funk, and more – including some unusual bits from left field, all woven into a wonderful tapestry of music! A few of the tracks are even of recent origin, but they sit very nicely next to the older numbers – all stepping around in a spacious approach to the groove that shows that even when they're not making their own music, Jazzanova have ears to help expand other folks' tunes as well! Titles include "Warning (part 1)" by David Axelrod, "Three Is The Magic Number" by Bob Dorough, "Trying Hard To Look Inside" by The Waters, "Dedicated" by Digable Planets, "It's Just The Way I Feel" by Gene Dunlap, "Dindi" by Janet Lawson, "State Of Mind" by Raul Midon, "Chant" by Robert Glasper, "Sanfona" by Egberto Gismonti, "Hey Hey" by Andrew Hill, "Save The Children" by Marlena Shaw, "Open The Door" by Betty Carter, "Hurt So Bad" by Grant Green, "Montara (Madlib rmx)" by Bobby Hutcherson, "This Is Not America (interlude)" by David Bowie & Pat Metheny, "Secret Rendezvous" by Rene & Angela, "Mt Airy Groove" by Pieces Of A Dream, "Light Of The Universe" by Sun, and "I Love You" by Taste Of Honey.