Some of the grooviest work ever cut by Brazilian trombonist Waltel Branco – a set that's very different than just about anything he ever put on record, and which is also material used in an early 70s TV series as well! The sound here is kind of a criss-cross between some of the cool Brazilian arranging styles of the time – the sorts of backings you'd hear on records by folks like Marcos Valle or Edu Lobo – mixed with some of the groovier European soundtrack modes of the period – especially Italy and France, and the great way those scenes really messed with production and instrumental styles. There's more than a few funky cuts here – making the album a real treasure in Branco's catalog – and almost all tracks are instrumental – but the set does feature one vocal number, "Frustracao", sung by Arlete Salles. Other titles include "I Giorni Dell'Ira", "200 MPH", "Bandinha", "Diana", "Tema De Ricardinho", "Tema De Abertura", "Efeito", "Back Ground", and "Zorro". CD

Great stuff from Marisa Monte – and a record that's criss-crossed with influences, thanks to production by Arto Lindsay, and performances by Marc Ribot, Bernie Worrell, John Zorn, Ryuchi Sakamoto, Nana Vasconcelos, and Ed Motta! Maybe a bit slicker than the current American press hype would have you expect – but a record that's filled with some great songwriting, and plenty of nice moments. Titles include "Beija Eu", "Ainda Lembro", "De Noite Na Cama", "Rosa", "Borboleta", and "Eu Sei". CD

Pivotal work from Duke Pearson – a brilliant set that perfectly sums up all the criss-crossing of styles he was working on in the late 60s – and comes up with a wonderful blend of electric jazz, Brazilian rhythms, and just a touch of 70s soul! Pearson plays some sweet Fender Rhodes on the set, in addition to acoustic piano – and there's some other wonderful instrumentation in the mix too – including flute and guitar from Hermeto Pascoal, making a rare Blue Note appearance – plus sweet flutes from Jerry Dodgion and Lew Tabackin, both blowing in kind of a CTI-ish way – as well as tenor from Frank Foster, trumpets from Collins/Shepley, and wonderful drums from Mickey Roker – whose inventive rhythms here really helps set fire to Duke's new ideas. Flora Purim sings on a few tracks – pre-Fantasy Records, and turning in some of her greatest vocals ever – and titles include a wonderful version of "Stormy", plus "Book's Bossa", "Gira, Girou", "Hermeto", "Emily", and "It Could Only Happen With You". (Jazz, Brazil) LP, Vinyl record album