Dot, Late 60s. Very Good+
One of Bonfa's better pop-bossa efforts of the 60s, and a record that features some pretty solid arrangements by Deodato. The record's still a mix of easy tunes and bossa ones, with the usual confusion of some of Bonfa's other American records -- but the groove is pretty solid Now Sound stuff,
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Verve, 1966. Very Good+
An album that not only broke the bossa big in the US -- but a set that also really helped transform the sound of the organ in jazz! Not only is the record a key meeting of bossa rhythms and jazz organ -- transplanted hugely to the US after a big initial Wanderley run in 60s Brazil -- but the set
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A&M, 1968. Very Good+ Gatefold
One of our favorite albums by Sergio Mendes & Brasil 66 -- a perfect bridge between the simple pop of earlier records, and the group's expanding sound as the 70s approached! The warmly glowing Brasil 66 style is still very strongly in place, but the music here is all a bit hipper -- tunes that
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Polydor, 1971. New Copy (reissue)
Quite possibly the last truly sublime album ever recorded by Os Mutantes -- a set that's a bit more rock-oriented then their first few, but still pretty revolutionary overall! The group have expanded to a quintet at this point, but haven't yet falling into the guitar-heavy groove of later years --
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EMI (Brazil), Early 70s. Near Mint-
A cool collection of early work Maria Bethania recorded for EMI -- with titles that include "Baby", "Pra Dizer Adeus", "Duas Contas", "Ultimo Desejo", "Maria Maria", "Irene", "Com Acucar Com Afeto", and "Os Argonautas".
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Continental (Brazil), 1974. Near Mint-
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Barclay (Brazil), Early 80s. Sealed
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RGE (Brazil), 1959. Good
Dramatic work from Brazilian singer Maysa -- a set that's nicely balanced between two generations -- the later, cooler modes of the bossa generation, and some of the more emotive styles that had come before! Maysa's rich vocal approach makes her a key talent in the latter mode -- but the lighter
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Muse, 1973. New Copy (reissue)
An unbelievably fantastic album, and perhaps the greatest one that Dom Um Romao ever did! Dom recorded this one in America with a blend of Brazilian and New York musicians -- creating an incredible sound that's unlike anything else we can think of! We'd place this record next to the best electric
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Equipe/Whatmusic (UK), 1964. New Copy (reissue)
An upbeat groover from 60s Brazil -- a highly percussive album that features work by Wilson Das Neves and Rubens Bassini! The record is an unusual one, in that it mixes the bossa harmony sound of groups like Tamba Trio or Os Cariocas with a harder, more percussive sound that owes something to the
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Muse, 1973. New Copy (reissue)
An incredible set of Brazilian jazz -- one of the few albums that percussionist Dom Um Romao recorded as a leader, and sublime all the way through! The record's got a wonderful blend of funky fusion and Brazilian percussion -- and features a group from two continents that includes Sivuca on organ,
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Antonio Carlos Jobim
Urubu
Warner, 1976. Very Good-
A strangely wonderful album from Jobim -- recorded with baroque production by Claus Ogerman, and a style that's similar to the 1973 Jobim album. The sound is perhaps a bit hokey in parts, but most of the time things are pretty sophisticated, with nice jazzy playing Jobim on Fender Rhodes, and some
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Milestone, 1985. Very Good+
Proof that Azymuth were one of the few groups who could keep things real at a time when most of their fusion contemporaries were sounding cloying and commercial! The album's got a well-rounded sound that really shows the group's roots in the 70s, and their wonderful evolution over the years --
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Verve, 1966. Very Good-
Kind of a dream combination in one little album -- especially if you dig breezy bossa from the 60s! Back in 1966, Verve Records got the great idea of teaming up its (then) biggest Brazilian imports -- vocalist Astrud Gilberto and organist Walter Wanderley -- both of whom were selling plenty at the
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Whatmusic (UK), 1966. New Copy (reissue)
Sweet and jazzy work from Bebeto -- the only solo album by one third of the legendary Tamba Trio! The sound here is similar to Tamba's great electric recordings of the mid 70s -- fusion-inspired instrumentation, electric keyboards, flute, and a warm and fuzzy production style that makes the whole
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Capitol, 1965. New Copy (reissue)
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
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Virgin, 1988. Sealed
Titles include "Angel Eyes", "Flora Nova", "A Esperanca", "Las Olas", "Bodas De Prata", "Good Morning Heartache", "Nothing Will Be As It Was", and "Light As A Feather".
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Philips (Brazil), 1971. Very Good-
A lively blend of soul and samba -- one of the more striking albums recorded by singer Jair Rodrigues, thanks to some great arrangements by Roberto Menescal! The album's got some nice touches in the Blue Brazil mode -- juxtaposed with samba rhythms, chorus vocals, and Jair's own lead singing.
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Milestone, 1986. Sealed
We never get enough of Jose Roberto Bertrami's vocoded vocal melodies! Sparkling Brazilian fusion, from the prolific Azymuth, with laid back grooves and light melodies, but not "lite" jazz. One of their more mellow outings, at most these tracks might approach mid-tempo, with a beautiful
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Elektra, 1979. Very Good+
It's a long way from the Brazil 66 days, and Sergio's working here in a style that's got more of an American soul sound than a Brazilian one. But we're not holding that against him -- because like another Brazilian contemporary, Deodato, Sergio manages to bring a unique quality to his take on
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