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Way more than just another collection issued in the year of the World Cup -- and instead, one of the most creative volumes so far in the excellent Triop To Brazil series! True, the focus here is on football -- or rather the Brazilian love of the sport and the way that it's reflected in their music -- but the grooves on the set are very much in keeping with the other excellent volumes in this collection, and mostly step out in a mix of bossa, jazz, and funk! The sound starts with the bossa roots that first got Trip To Brazil going -- but then move into some of the more complicated rhythms and soul-influenced styles that exploded in Brazil during the 70s -- and which inflected the country's music with more pride and power than ever. As with other volumes, each track is very carefully chosen, and supported with notes that even further help you understand the music -- and the CD runs for over 70 minutes, with a total of 22 tunes that include "Meu Mundo E Uma Bola" by Pele & Gracinha Leporace, "1 X 0" by Nelson Angelo, "O Jogo" by Milton Nascimento, "Samba Da Copa" by Fabio Fonseca, "Camisa 10 Da Gavea" by Jorge Ben, "E Uma Partida De Futebol" by Skank, "Perdao Nao Tem" by Elis Regina & Pele, "Obrigado Pele" by MPB4, "Samba Rubo Negro" by Joao Nogueiro, "Caminho Do Gol" by Marcelo Salazar, "O Futebol" by Chico Buarque, "Que Bonito E" by Sylvia, "Maracana" by Azymuth, "Paz E Futebol" by Marcos Valle, and "Fio Maravilha" by Tania Maria.

A masterpiece of bossa nova -- and one of the best compilations you could hope to buy! The set is the third volume in the all-wonderful Trip To Brazil series -- and like the others, it's a boundary-less selection of tunes in the bossa mode -- pulled from the global catalog of Universal music, and featuring tracks from Brazil, France, Germany, New York, LA, and other points worldwide -- all unified with a magical love of the gentle groove, and served up in a sweet looking package that's a bargain at any price! And even if you own a good bit of bossa work already -- as we certainly do -- the set's a delight in the way that it brings together tunes that you might have either forgotten about or passed over, and which re-emerge here to sparkle in a whole new light! The sound is great, the look is wonderful, and the whole thing's put together with a 24 page booklet that includes notes on all of the album's 47 tracks! Titles include "Zazueira" by Luiz Eca, "Que E Que Voce Vai Fazer Nesse Carnaval" by Azymuth, "Bahia Soul" by Luiz Bonfa, "Voce E Eu" by Sylvia Telles & Tamba Trio, "Lalari Olala" by Jorge Ben, "The Dolphin" by Bill Evans, "Diz Que Fui Por Ai" by Neyde Fraga & Walter Wanderley, "Wave" by The Sandpipers, "Hey Jude" by Edu Lobo, "Festa No Sertao" by Zimbo Trio, "Casa Forte" by Helen Merrill, "Little Boat" by Lorez Alexandria, "Seu Encanto" by Rio 65 Trio -- and lots lots lots more!

Breezy bossa from 60s Germany -- a classic sound library session by pianist Pete Jacques, filled with lightly dancing rhythms, crackling acoustic percussion, and lots of cool wordless vocal bits next to the instruments! The sound is very much in the best MPS Snowflakes mode -- a mixture of jazz and easy with just the right influences from Brazil -- all crafted together with magnificent sound and a timeless groove that's far less cheesy than some of the American albums of this type from the time! There's a really dynamic feel to Jacques orchestrations on the set -- an interweaving of the understated and baroque modes going down in Brazil at the time -- filtered through a German postwar ideal that imagines the sound with an even cleaner vision than the original! Titles include "Round Trip To Rio", "Sandwichman", "Blue Water", "Bossa Da Bahia", "Pretty Belinda", "Bright Shining Stars", "Fruit Vendor", and "Bacana". Reissue adds 3 bonus tracks too -- "Fata Morgana", "Easy Motion", and "Avenida Copacabana".

A hip little set from The Beat Boys -- an Argetine group working in late 60s Brazil, supposedly with a bit of an influence on the sound of Tropicalia! The sound here is a bit straighter than the work of Caetano Veloso or Os Mutantes -- a bit in the Jovem Guarda sound of more mainstream Brazilian rock, but with some hipper influences too -- including a strong Beatles influence that makes for some great harmonies on the vocals, and instrumentation that really pushes beyond the standard straight Anglo rock modes of the time. Instrumentation features some fuzzy guitars, which are occasionally a bit tripped-out -- plus organ, bass, and drums -- all topped by echoey vocals from the group. Titles include "O Meu Tamborim", "A Time For Remembrance", "A Felicidade", "Wake Me Shake Me", "Sempre Esperando", "Aria Para A Corda Sol", and "Era Uma Menina". CD reissue features some great notes on the band, plus some vintage photos -- and also includes the bonus track "Canudinho".

Live set by this master Brazilian singer/songwriter. Unlike other records from this time, Bosco's playing in a nice stripped-down setting, with just his guitar to accompany his soulful vocals. The set's nearly all originals written by Bosco and songwriting parter Adair Blanc. Titles include "Kid Cavaquinho", "Linha De Passe", "Coisa Feita", and "O Bebado E A Equilibrista".

The final chapter of Lula Cortes amazing run of music in 70s Brazil -- a small label release that brilliantly blends together a range of psychedelic influences -- all with a gritty edge that's quite different than what you might expect from the date of the album! Things here are every bit as tripped out as on some of Lula's other albums from years before -- trippily poetic, occasionally folksy, and sometimes touched with heavier electric moments that really offset the gentler, more organic moments. The reissue features full notes on the music by Cortes himself -- and the package offers a rare chance to hear an album whose original pressing was supposedly destroyed before it was ever released! Really great sound, and a lovely package that more than lives up to Lula's amazing music.

The legendary meeting of the two biggest Brazilian keyboard talents of the 70s -- Joao Donato and Eumir Deodato -- coming together in beautifully funky formation! The sound is a great blend of the moody electric work of Donato's classic Quem E Quem album, and some of the fuller, funkier grooves on Deodato's work for CTI -- served up here in a double-keyboard blend with help from a host of great guest musicians! Other players include Randy Brecker on trumpet, Romeo Penque on flute, Mauricio Einhorn on harmonica, and Michael Gibson on guitar -- plus plenty of percussion from Airto and Ray Barretto, who both join in to round out this all star session. Tracks are nicely long, and very jamming at times -- and titles include the funky "Whistle Stop", plus "Where's JD", "Capricorn", "Nightripper", and "Batuque".

A seminal album by El Kinto -- a short-lived but crucially important group in the Uruguay rock scene of the late 60s! El Kinto were a seminal link between the beat group sounds of the earlier South American scene, and some of the headier, tripper work to come in the psychedelic years -- and their music was an unusual blend of local roots and more ambitious rock -- served up in styles that were somewhat different than the candombe music of other artists on the scene. Core rock instrumentation was often augmented by a bit of Latin percussion -- used in a way that created a nicely earthy feel at the bottom of most of the tunes, which was in contrast to the cleaner, but also somewhat spare use of guitars on the top. There's a criss-crossing sensibility here that's not unlike Brazilian Tropicalia at times -- although clearly not as politically motivated, nor as culturally radical -- and what really blows us away about these tunes is the overall sense of sound -- a simple, but extremely effective placement of all the simplest elements, to create music without easy comparison (even though we've been trying for the last few lines!) Group members include percussionist Ruben Rada and South American rock legend Eduardo Mateo -- and the album features 14 tracks that include "Jose", "Mejor Me Voy", "Don Pascual"," Voy Pensando", "Esa Tristeza", "Yo Volvere Por Ti", "Estoy Sin Ti", and "Pippo". Great reissue -- very heavy vinyl and cover, and with an insert with notes!

An incredible collection of work by El Kinto -- a short-lived but crucially important group in the Uruguay rock scene of the late 60s -- finally given their due in this overstuffed deluxe CD package! El Kinto were a seminal link between the beat group sounds of the earlier South American scene, and some of the headier, tripper work to come in the psychedelic years -- and their music was an unusual blend of local roots and more ambitious rock -- served up in styles that were somewhat different than the candombe music of other artists on the scene. Core rock instrumentation was often augmented by a bit of Latin percussion -- used in a way that created a nicely earthy feel at the bottom of most of the tunes, which was in contrast to the cleaner, but also somewhat spare use of guitars on the top. There's a criss-crossing sensibility here that's not unlike Brazilian Tropicalia at times -- although clearly not as politically motivated, nor as culturally radical -- and what really blows us away about these tunes is the overall sense of sound -- a simple, but extremely effective placement of all the simplest elements, to create music without easy comparison (even though we've been trying for the last few lines!) Group members include percussionist Ruben Rada and South American rock legend Eduardo Mateo -- and the package features 16 tracks by El Kinto -- plus 6 more by related artists The Knights, Aldo Y Daniel, and Roberta Lee. The whole thing's done in beautiful Soul Jazz-style packaging -- with a huge extra booklet inside a slipcase alongside the CD. Titles include "Jose", "Mejor Me Voy", "Estoy Sin Ti", "Muy Lejos Te Vas", "Esa Tristeza", "Don Pascual", "Damelo", "Pippo", "Yo Volvere Por Ti", "Como El Brillo Del Sol", "La Felicita", and "Penas De Sal".

The start of a legend -- and the very first album by Sergio Mendes' Brasil 66 group, proudly brought to the world through the godlike talents of a young Herb Alpert! Sergio was no stranger to the recording studio by the time of this set, but the record marked a real shift in his music -- a change from the mostly-instrumental bossa modes he first forged back in Brazil, and a shift to warmer, sweeter pop with a nice sunny California finish -- done through unique production techniques and the group's trademark two-lady lead vocals! The sound is tremendous, and is possibly heard in its purest form here -- simple, focused, and given that near-perfect A&M sound through Herb's production skills. Titles include the classics "Daytripper", "Aqua De Beber", "O Pato", "Berimbau", "Mas Que Nada", and "The Joker".

Way past the hits, and into some really great territory -- a move that makes the record one of our favorite Sergio Mendes sets for A&M! The sweeter bossa pop style here is undercut with a bit more influence from late 60s Brazilian grooves -- some of the more baroque turns that Sergio's contemporaries back home were taking, mixed with a few of the trippier influences that were coming into the scene as well. The overall style is still in the warm two-voiced mode that made Brasil 66 famous, but we appreciate some of the headier moments moving into the mix -- partly from the guitar of Oscar Castro Neves, as well as the orchestrations by a young Dave Grusin! Titles include the fantastic title cut "Ye-Me-Le" -- a wonderful groover written by Luiz Carlos Vinhas -- plus a number of excellent covers, like "Norwegian Wood", "What The World Needs Now", "Moanin", and "Where Are You Coming From?".

An overlooked gem from Brazilian singer/songwriter Suely Mesquita -- a record that's hardly the pure sex implied by the title, given the deeper thought that goes into the music! Suely's vocals are certainly seductive enough, but they're cast here in some beautifully understated musical settings, which makes us love them even more -- a very stripped down blend of guitar parts, rhythms, and some slight contemporary production touches -- all used very simply, without overdoing things -- yet with all the revolutionary power you'd get from some of the bigger names in Brazilian contemporary music. Mesquita's work represents a great underground in the Brazilian indie scene -- more carefully, thoughtfully put together music than most of what ever reaches us here -- with a depth that's even more rewarding on repeated listenings. Titles include "Bebe Chuva", "Interesse", "Prazer Prejuizo E Ocio", "Sapatinho/No Boteca", "Samba", "Porcelana", "Pisca", and "Maldade Da Memoria".

Heavy fuzz from late 60s Brazil -- a Tropicalia-era album, but one with a slightly more mainstream groove -- one that mixes elements of regional music with psychedelic elements and bouncy, mod-styled backings! The approach is somewhat like the work going on over at EMI/Odeon during the time -- although there's certainly a trippier side to the record as well, thanks to arrangements from Rogerio Duprat, Damiano Cozzela, and Julio Medagalia. There's a fair bit of groovers on the record -- although in a somewhat offbeat mode -- nestled nicely next to a few headier tunes that help balance out the whole set wonderfully. Titles include "Alegria Alegria", "Quem Sabe", "Que Maravilha", "Fossa Boboca", "Longe Do Tempo", "Pela Rua Da Praia", and "Vou Buscar Voce".

The long awaited return of Brazilian iconoclasts Os Mutantes -- featuring original Mutante Sergio Dias and a great new band -- plus songwriting contributions from Tom Ze and Jorge Ben -- a forward looking endeavor, not at all a nostalgia trip! It's been around 30 years since the previous Os Mutantes album, and the never predictable Dias sounds as fresh and energized as we hoped he'd be -- with bright, catchy-as-hell melodies, wildly playful carnivalesque sounds as well as more rootsy acoustic bits, on songs that fearlessly blend genres and influences. It's hard to imagine that we'll ever love records from Mutantes, or anyone else in any genre, as much as we love the late 60s stuff -- but this is excellent, and among the better Mutantes records since the Rita Lee era. Dias sings and plays electric & acoustic guitars, Egyptian oud, organ, percussion, harmonica and handles the string arrangements, and fellow Mutantes this time out include percussion, drums & vocals by Dinho Leme and Bia Mendes, vocals, piano & keys by Henrique Peters and Fabio Recco, percussion & sound design by Simone Sou, bass, flute, strings and string arrangements and more by Citor Trida. Titles include "Hymns Of The World (Intro)", "Querida Qierida", "Teclar", "2000 E Agarrum", "Baghdad Blues", "O Careca", "O Mensageiro", "Anagrama" featuring Tom Ze, "Aamba Do Fidel", "Nada Mudou", "Gopala Krishna Om", "Hymns Of The World (Final)" and more.

The title's a good one -- as Passport's Klaus Doldinger returns to his original love of Brazilian jazz -- a style he explored strongly on his rare albums from the 60s! The sound here is certainly more contemporary, but still quite strong -- a mostly acoustic approach to the music that has some especially great reedwork from Klaus on tenor and soprano sax, plus guitar, percussion, and some sweeter keyboards -- all produced with a sound that's a bit more stripped down and earthy than the usual smooth jazz approach to work like this. Titles include "Moon Over Bahia", "Samba Cinema", "Airport", "Praia Do Flamengo", "Where Have You Been", "Bellydance", "Jazzaloop", "Rio Jam", and "Boogie". CD also features 2 bonus tracks -- "Das Boot" and "The Cat From Katmandu".

Early live work from Baden Powell -- a set recorded for Elenco in Brazil, but done with some of the best stripped-down, intimate modes of his later European recordings! Baden's acoustic guitar is firmly in the lead on most tracks, and the sound is almost solo, in a way -- as the added piano of Oscar Castro Neves and drums of Victor Manga are really just used to color in the spare lines on Powell's guitar. There's a warmly jazzy sensibility to some of the tunes -- and titles include "Astronauta", "Tempo Feliz", "Preludio Em Re Menor", "Valsa De Euridice", "Samba De Uma Nota So", "Berimbau/Choro Para Metronomo", and "Lamento".

Definitely a set to make you hallucinate -- as the grooves are quite groovy, but in a really trippy way! The album's a bit like the classic Psicodelico set by Luiz Carlos Vinhas -- a mix of older samba modes and wigged-out 60s sounds -- sometimes odd production, sometimes offbeat instrumentation -- really running through a variety of different sounds as the album moves on, almost with a party sort of feel! Some numbers have female vocals -- used almost in a Brasil 66 way at points, or in a solo bossa diva mode at others -- and the few instrumental tunes take nice advantage of the group's soulful piano, guitar, sax, and trombone. Titles include "Somos Todos Irmaos", "Poema Ritmico Do Malandro", "Sou Feliz Aqui", "Isn't A Dream", "Adeus Amor", "Hert", and "Bye Bye".

The debut set from Troubleman -- aka Mark Pritchard -- a name you may know from countless remixes over the past few years, now finally stepping forth with his own work! The set's got a definite Brazilian influence -- as you'd expect from all the Troubleman work on the Far Out label -- but there's also a much stronger London vibe running through the set -- not just in the cosmic broken style of recent years, but also an expansive trippy mode that seems to hearken back to the heady days of late 60s experimentation! The sound's a lot fresher than we might have even hoped for -- as Mark changes things up nicely track to track, and throws in a few mellow numbers that have him really moving past his initial dancefloor appeal. Filled with nice instrumentation, too -- and titles that include "Have A Good Time", "Paz", "The Righteous Path", "Lonely Girl", "Change Is What We Need", "Toda Hora", "Roll On", "Time Out Of Mind", and "Without You".

An incredible debut from the team of Alceu Valenca & Geraldo Azevedo -- Brazilian songwriters and vocalists, working here with arrangements and production from the legendary Rogerio Duprat! Duprat's style for the record is somewhat similar to his Tropicalia work -- particularly in the way that he mixes the fragile, intimate vocal approach of the pair with some oddly-tuned horn bits, earthy percussion, and occasionally sweeping modes that help the tunes drift along on a gentle cloud of darkness. There's a simple, subtle poetry to the whole record -- a quality that's not as trippy or experimental as Tropicalia work, but no less compelling -- and very much in the spirit of the more introspective Minas Geraes generation. Titles include "Me Da Um Beijo", "Virgem Virginia", "Mister Misterio", "Novena", "Erosao", "Seis Horas", "Planetario", "78 Rotacoes", "Horrivel", and "Talisma".

Contemporary Latin tracks, but with a really classic feel -- mostly material pulled from the Concord/Picante catalog of the 80s and 90s, recorded in a really stripped-down, back-to-basics mode that few other labels were doing at the time! There's lots of focus here on upbeat rhythms and sweet jazzy solos -- and titles include "Esta Noche" by Pete Escovedo, "Watermelon Man" by Poncho Sanchez, "New World Spirit" by Ray Barretto, "Angel Eyes" by Hendrik Meurkens, "Mother Jones" by Mongo Santamaria, "Think Twice" by Monty Alexander's Ivory & Steel, "Rum & Coke" by Ed Calle, "Funky Tamborim" by Tania Maria, "Birk's Works" by Ray Vega, "Oye Como Va" by Tito Puente, and "Guachi Guaro" by Cal Tjader.

Brilliant work from the Picante label -- the Latin-styled offshoot of the main Concord Records imprint -- home to some of the best west coast Latin music for the past few decades! At a time when so many other labels were going for hits and crossover material, Picante started things out right with a real back-to-basics approach to Latin jazz -- one that stripped the music back down to its roots, and focused on key instrumental contributions from top-shelf players. This approach continued even when the label moved into some vocal work too -- and when it took on the amazing Tania Maria, who brought a bit of Brazilian flavor to their roster too -- and over the years, Picante's west coast work really took over the helm from New York gians like Fania or Alegre. This 4CD package is filled with Picante gems from the glory days of the label -- and titles include "Spain" by Tito Puente, "Mambo Mindoro" by Cal Tjader, "Think Twice" by Monty Alexander's Ivory & Steel, "Up Late" by Jeff Linsky, "Soca Me Nice" by Mongo Santamaria, "Night In Tunisia" by Caribbean Jazz Project, "Ran Kan Kan (Thunderball vs Fort Knox Five rmx)" by Tito Puente, "La Voz Del Caribe" by Eddie Palmieri, "La Cuna" by Pete Escovedo, "El Shing A Ling" by Poncho Sanchez, "Bom Bom Bom Tchi Tchi Tchi" by Tania Maria, "Sonando" by Poncho Sanchez, "Evil Ways" by Carmen McRae & Cal Tajder, and lots lots more. 50 tracks in all!

Heavy heavy stuff from the wild days of the Brazilian music scene -- 19 tracks that put the psyche into psychedelica, and which show that in many ways, the Brazilian approach was even more mindblowing than American and British music at the time! Back in the late 60s, even easy listening in Brazil was pretty tripped-out -- using lots of heavy bass, keyboards, and fuzzy guitars -- so it's no surprise that on tracks like these, all heavy rockers from the Tropicalia and post-Tropicalia years, the sound really opens up! The compilation's a nice one in that it moves past obvious political and musical canonization of Brazilian rock acts -- and just presents the tunes for what they are, some better known artists standing equally next to obscure rockers we're hearing here for the first time! Titles include "E Assim Falava Mefistofeles" by O Bando, "Tao Longe De Mim" by Os Brazoes, "I Need You" by O Terco, "Lunatica" by Assim Assado, "Birds In My Tree" by The Buttons, "Voando" by Liverpool, "Let's Go" by Sound Factory, "Fidelidade" by Marconi Notaro, "Mensageiro" by Paul Bagunca, and "Miragem" by Os Lobos.

One of the grooviest Dorothy Ashby albums of the 60s -- a set that has her already-great jazz work on harp backed by Chicago soul arrangements from Richard Evans -- all in a blend that's somewhere in the territory of the Soulful Strings, but even groovier! And as an added bonus, Odell Brown even plays a bit of Fender Rhodes on the record -- which sounds especially great! Both Ashby and Evans are at the height of their powers here -- mixing together bits of jazz, soul, and trippier elements in a sublime late 60s Cadet Records blend -- one that's carried off perfectly on the original tunes "Truth Spoken Here", "Tornado", "Cause I Need It", and "Just Had To Tell Somebody" -- but which also sounds great on some of the album's cool covers too! Other titles include Brazilian numbers "Reza" and "Canto De Ossanha" -- both of which are transformed in Dorothy's hands -- plus "This Girl's In Love", "By the Time I Get to Phoenix", and "Windmills of Your Mind"!

Another feather in the Six Degrees cap -- and like the rest of their Brazilian music repertoire, an artist who seems bent on breaking down boundaries -- both in styles and generations! Ceu's got the same "old is new" feeling as some of the label's other work in recent years -- a mode that takes older bossa, samba, and other styles (including dub) -- and reworks it using a lightly playful quality, and a relatively stripped-down feel overall. Instrumentation here is mostly acoustic -- especially on the rhythms -- but it does include some electric bits on keyboards and turntables, used lightly enough as to not interfere with the organic quality of the sound. Ceu's vocals are light, too -- but also slightly raspy, in a way that makes them a lot better from some of the too-dreamy singing you might expect on a record like this. Titles include "Lenda", "Malemolencia", "10 Contados", "Vinheta Dorival", "Ave Cruz", "Concrete Jungle", "Vinheta Quebrante", "Samba Na Sola", and "Bobagem".

The final chapter of Lula Cortes amazing run of music in 70s Brazil -- a small label release that brilliantly blends together a range of psychedelic influences -- all with a gritty edge that's quite different than what you might expect from the date of the album! Things here are every bit as tripped out as on some of Lula's other albums from years before -- trippily poetic, occasionally folksy, and sometimes touched with heavier electric moments that really offset the gentler, more organic moments. The reissue features full notes on the music by Cortes himself -- and the package offers a rare chance to hear an album whose original pressing was supposedly destroyed before it was ever released! Really great sound, and a lovely package that more than lives up to Lula's amazing music.

One of the greatest albums ever cut by Brazilian soul singer Tim Maia -- a set that's more ambitious and more expressive than his famous 70s work for Polydor, but a record that has none of the too-smooth sounds of Tim's later years! There's a really trippy feel to most of the instrumentation and production here -- fuzzed-out guitars, flanged-out vocals, and a gently head-nodding funky undercurrent to most of the best tracks -- a superdope sound that most American aritsts from the time could hardly touch! The set's almost done as a "sutie" of tracks -- with spoken bits by Tim between a number of the tunes, and a really long number at the end to cap the whole thing off! A real musical treasure, and filled with great tunes that include "Imunizacao Racional", "Bom Senso", "Leia O Livre Universo Em Desencanto", "Rational Culture", and "Contacto Com O Mundo Racional".

A landmark album that changed a generation of Brazilian musicians -- a sublime instrumental collaboration between Airto, Hermeto Pascoal, and 2 other great musicians of their generation! The sound is quite unique -- almost a modern recasting of older rootsy modes -- taken into the complicated jazzy territory of Airto and Pascoal's best work of the early 70s, but done in an even more stripped down mode! Airto plays percussion, Pascoal plays flute, Geraldo Vandre handles guitar, and Theo De Barros is also in the group -- and there's a groove that's impossible to describe accurately, but which you'll instantly recognize as archetypal! Includes the legendary tracks "Misturada" and "Vim de Santana" -- plus "Sintese", "Canta Maria", "Canto Geral", and "O Ovo".

A bit trippy, a bit groovy -- and a very compelling little set from the Brazilian duo of Rubinho & Mauro Assumpcao! At one level, the record's got an earthy feel that matches the cover image of the pair climbing out of a tree without their shirts on -- but at another level, there's often echoes of some of the funkier modes coming into Brazilian music at the time -- a slight Samba Soul influence that mixes well with the earthy, sometimes personal vocals of the duo. In a way, there's almost a similarity here to early work by Os Novos Baianos -- who seem to inhabit a similar space -- and like that group, these guys have a sound that's got plenty going on, even if you can't completely understand it! Titles include "Ta Tudo Ai", "Debandada Geral", "A Montanha", "Bloco Da Visao", "Os Olhos", "Sozinho Nao Estou", "Quero Companheira", and "Pe Na Estrada".

One of the building blocks of the late 60s Tropicalia scene in Brazil -- and a standout solo debut from the young Caetano Veloso! The album's got an approach that's as dynamic and trippy as its cover image might imply -- the same amazing blend of sounds and styles you'd hear on contemporaneous records by Gal Costa or Os Mutantes -- served up with similar wit, wisdom, and charm! Caetano's vocals are amazing throughout -- filled with raspy power that goes beyond the barriers of language -- and the production has loads of surprising elements tripping through the mix -- some rootsy, some slightly orchestrated -- but with a softer approach that resonates strongly with more psychedelic use of organ and guitar. The album's as powerful today as it was decades ago -- an essential recording that holds up beautifully year after year! The kickoff track is "Tropicalia" (surprisingly enough!), and the album is a non-stop ride through gems like "Alegria, Alegria", "Onde Andaras", "Paisagem Util", "Ave Maria", and the groovy "Soy Loco Por Ti America", written by Gilberto Gil.

One heck of a trip -- and a mighty dip into the crates that not only features classic funky bits from Blue Note, but also a wealth of material from related labels! The whole thing's put together by DJ Maestro -- who effortlessly shifts from jazz funk to hard bop to Latin, Brazilian, and beyond! This 2LP set features the "Sunrise" set -- with tracks that include "Feel Like Makin Love" by Marlena Shaw", "Morning" by Clare Fischer, "Beggar For The Blues" by Patti Drew, "Manzana" by Booster, "Show Me" by Cassandra Wilson, "Good Humor Man" by Blue Mitchell, and "The Morning Side Of Love" by Chico Hamilton. Lots lots more -- and very cool!

Dorival Caymmi makes a great appearance on the famous Ensaio show -- a beautifully intimate setting that really captures his maturing charms! All tunes are originals by Caymmi, sung in a stripped-down, intimate style that's really timeless -- as compelling today as the images and music must have been in the early 70s -- with tracks that include "365 Igrejas", "Vatapa", "Promessa De Pescador", "Dois De Fevereiro", "So Louco", "Marina", "Das Rosas", "Nunca Mais", "O Que E Que A Baiana Tem", "Itapoa", and "Francisca Santos Das Flores". With subtitles in Portuguese, English, and Spanish.

Quite possibly the funkiest album that Victor Feldman ever recorded -- a sweet little cooker from early 70s Cali -- recorded with some great help from Tom Scott on sax and flute! Victor plays both piano and vibes, and there's a warm funky glow to the whole set -- kind of a CTI vibe, but taken a bit more stripped-down and indie too -- especially on the cuts with a bit harder edge. Other players include Chuck Domanico on bass and John Guerin on drums -- and titles include the killer "Your Smile", plus "Rock-A-Vibabe", "Quietly", "I Love Lucy", "Crazy Chicken", "Minor Catastrophe", and "Brazilian Fire".

A beautiful document of Ivan Lins' music -- a TV performance from early in his career, filmed with a wonderfully intimate quality! The style is quite similar to some of the best Ensaio DVDs on the market -- with Lins' filmed up close, in black and white, speaking a bit to introduce each tune, then accompanying himself on piano or acoustic guitar. The stripped-down setting is quite different than the more ambitious productions of his studio albums of the late 70s -- which makes the DVD an essential "album" from this under-documented point in Ivan's career. Titles include "Chega", "Abre Alas", "Rei Do Carnaval", "Madalena", "Amor Em Paz", "Opinao", "Avarandado", "Sai De Baixo", and "Me Deixa Em Paz". DVD features some bonus features -- and subtitles in English, Spanish, and Portuguese.

One of the building blocks of the late 60s Tropicalia scene in Brazil -- and a standout solo debut from the young Caetano Veloso! The album's got an approach that's as dynamic and trippy as its cover image might imply -- the same amazing blend of sounds and styles you'd hear on contemporaneous records by Gal Costa or Os Mutantes -- served up with similar wit, wisdom, and charm! Caetano's vocals are amazing throughout -- filled with raspy power that goes beyond the barriers of language -- and the production has loads of surprising elements tripping through the mix -- some rootsy, some slightly orchestrated -- but with a softer approach that resonates strongly with more psychedelic use of organ and guitar. The album's as powerful today as it was decades ago -- an essential recording that holds up beautifully year after year! The kickoff track is "Tropicalia" (surprisingly enough!), and the album is a non-stop ride through gems like "Alegria, Alegria", "Onde Andaras", "Paisagem Util", "Ave Maria", and the groovy "Soy Loco Por Ti America", written by Gilberto Gil.

A wildly eclectic brew of driving heaviness, looser trippiness, and even some delicate moments from Billy Bond -- a more freewheeling and ambitious mix of post psychedelic wildness from Brazil's Billy Bond & co! Volume 3 from 1972 is made up of 2 lengthy suites, " Lado 1 -- Acustico" and "Lado 2 -- Eectrica Camplementaria". The former is surprisingly lean in spots, with some folky psychedelia in the blender. The latter is full of abrupt, dramatic stop-start dynamics. Volume 4 from '73 includes "No Nos Paran Mas", "Hacia Algun Lugar", Gracias Al Cielo", "Estamos Hartos", "Ano 1939", "Algo Esta Por Suceder" and more. This one is more of a wild and wooly rock & roll set, and a deliciously unpredictable one!

An amazing early album from Brazilian guitar virtuoso Luiz Bonfa -- originally recorded by the audiophile Cook Laboratories on a Nagra recorder -- in a spare, stripped-down, "in the field" sort of style! There's an intimacy here that's missing from some of Bonfa's studio sessions from the same period -- and Luiz responds wonderfully by playing some of his most intricate lines on guitar -- all recorded here with amazingly precise sound. Despite the lack of a proper studio, the fidelity is superb -- and honestly, the album's got a quality that ranks it with Bonfa's best records ever! Titles include "Luzes Do Rio", "Shearing", "Murder", "Variacoes Em Violao", "Seringueiro", and "Song De Orpheo". Plus, the CD features 14 bonus tracks, great remastering, and a wonderful 32 page booket!

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

A wonderful album by one of the all-time greats! The record is Joao Gilberto's best in years, and it was produced by Caetano Veloso -- in a spare, stripped-down style that's very similar to Joao's classic self-titled album from 1973, with an equally moody sound overall! Veloso used some wonderful recording techniques -- and Joao's warm vocals and haunting guitar work are handled in a manner that unlocks all of their dark beauty and charm -- without any of the sweetness that sometimes holds back some of his other later recordings. Titles include "Voce Vai Ver", "Segredo", "Chega De Saudade", "Eclipse", "Desde Que O Samba E Samba", "Eu Vim Da Bahia", and "Da Cor Do Pecado".

13 jazz dance classics from 70s Japan -- all pulled together by Gonzalez Suzuki of Soul Bossa Trio! This set's the 5th installment in the ultra-hip Shibuya Jazz Classics series -- and like the others, it offers a fantastic array of groovers that were mostly only issued in Japan back in the day, expertly chosen with a real feel for the modern scene! Nearly all the tracks feature work by keyboardist Naoya Matsuoka -- a player who's equally great on acoustic piano as he is on electric keys, moog, and synth -- always hitting some nicely punctuated notes, and sending the tunes along with a groove-happy approach that's greatly appreciated by our ears. The general feel is a lot like some of the 70s west coast fusion work of the time -- particularly tracks on labels like Catalyst or Discovery -- drenched in sunny influences from Latin and Brazilian music, all given a breezy Pacific spin. Titles in clude "If You Wanna Go Away", "Take 6 4 5", "The Man From Yoruba", "The Sun Also Rises", "Fiesta Fiesta", "Feeling So Nice", "Suppose It Rains", and "I Saw Zill One Day", all by Naoya Matsuoka -- plus "Night Trip", "In The Morning", and "Antes De Mais Nada", all by Pacific Jam -- a group that featured Matsuoka.