One of the grooviest albums we've ever heard from Erlon Chaves – a Brazilian arranger who got his start in the bossa generation, later did some more traditional music – but here explodes with this great fusion of European and Brazilian soundtrack styles! The record's credited to the Orquesta St Moritz – most likely a studio group with a European name, for good pedigree – but there's a huge amount of sounds here that rival some of the best modes coming from the EMI/Odeon label at the start of the 70s – particularly the mix of samba and bossa elements with larger funky arrangements, then given a more sophisticated twist – as you'd find in the music of Marcos Valle! Most of these tunes are instrumental, and there's some really wonderful organ work on a number of the titles – on tracks that include "Procura Se Uma Virgem", "Grilo", "Uma Velha Bossa", "Ba Oba Oba", "Vamos Nos", "O Anjo E O Diabo", and "Tema De Amor". CD

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. CD

A stunning celebration of one of the greatest pairings in Brazilian music – and in American music as well, given that both Airto Moreira and Flora Purim recorded plenty of these cuts up in our neck of the woods! Airto's percussion is the stuff of legend – a key force in Brazilian recordings in the late 60s, and then equally important in American jazz – in famous recordings with Miles Davis and other artists, and plenty of great records on his own! Flora's vocals are equally crucial – a soaring, fluid approach that forever changed the way that female singers approached jazz – bred in 60s bossa, but instantly something new by the time the 70s came along – especially when Airto was supporting her with great grooves! This huge package brings together material that both artists recorded – often under the name of one or the other, but often with the other artist present on the recording – with a heavy batch of work from the 70s and 80s, but also crucial cuts from other years too! 3CD set features 37 tracks and a really great package – with titles that include "Love Lock", "The Happy People", "Hungry On Arriva", "The Road Is Hard", "Samba De Flora", "O Canto Da Sereia", "Jeito Bom De Sofrer", "Papo Furado", "Xibaba", "Back Streets Of Havana", "Vera Cruz", "Flora's Song", "When Angels Crie", "Celebration Suite", "Casa Forte", "Black Narcissus", "A Secret From The Sea", "O Cantador/I Just Want To Be Here", "Jump", and "Hot Sand". CD

CTI Records meets that Brazilian fusion sound of the 70s – served up here on two classic albums! Fingers is one of Airto's greatest records ever – a really hard hitting batch of tracks that mix sharp-edged fusion lines with some earthier Brazilian percussion touches – all in a way that nicely steps off of Airto's first few American releases, and warms the groove up with a nice dose of California soul! Flora Purim joins in here on both vocals and percussion – and the rest of the group features Hugo Fattoruso on keyboards and harmonica, Jorgte Fattoruso on drums, and David Amaro on both electric and acoustic guitars – shifting nicely between both instruments in a way that further underscores the blended vibe of the record! Most of these tracks are Airto classics – like "Tombo in 7/4", "San Francisco River", "Romance Of Death", "Ringers", and "Wind Chant" – and the record has a very sweet CTI production style, but is still rough enough around the edges to keep things nice and real! Deodato In Concert is an excellent little live set from Deodato – hard to believe because the sound's just as tight and funky as his studio albums, and possibly even more interesting because he manages to pull it off equally well in a live setting! The record features percussion by Airto, guitar by John Tropea, and vocals by Flora Purim – and those are just the marquee names of a large and amazing grew of great musicians! All tracks are long and complicated, for very hynotic feel throughout. The funkiest number is "Tropea", which has a nice long 8 minute groove – and the set also features a cover of Steely Dan's "Do It Again", plus the tracks "Parana", "Branches", "Baubles, Bangles And Beads" and "Skyscraper". Amazing! CD

An incredible little record – and the set where it really all comes together for this legendary funky jazz group! Azymuth were already great on their debut, although maybe a little experimental at times – but here, they really find the soulful groove that later got them big fame on the US scene – effortlessly blending their tight jazz skills with a dose of samba soul, and turning out some wonderfully groovy music in the process! There's clearly an influence here from the best years of Earth Wind & Fire – but also more of the edge that you'd expect from the young trio – as the amazing Jose Roberto Bertrami blows us away with his wickedly sharp keyboard solos, as Alexandre Malheiros and Mamao create these beautiful rhythms that go way past anything you might have expected from a trio. The whole thing's wonderful – one of the most soulful Brazilian records of the 70s – and titles include the great cuts "Tarde", "Tamborim Cuica Ganza Berimbau", "Falcon Love Call", and "Aguia Nao Come Mosca". CD

Amazing early work from Azymuth – rare demo recordings done at the home studio of keyboardist Jose Roberto Bertrami, in the short space before the group issued their legendary debut! The tracks here are as much jazz funk as they are the later modes that Azymuth would put forth – killer instrumentals that are really driven by great keyboard lines from Bertrami, who'd already been making music in other formats for years – and who works here on Fender Rhodes, Arp, Clavinet, Hammond, and a range of other keyboards too! The drums are fantastic, too – handled by a young Ivan Conti, who gets help on percussion from an early fourth member of the group, Ariovaldo Contesini – and as you might guess, the incredible basslines of Ivan Mamao Conti really help the whole thing groove. All material is very well-recorded – these aren't rough or unfinished tracks at all – and the whole thing should just be thought of as a first chapter for the group, right before they started putting out their famous records. Titles include "Prefacio", "Castelo", "Melo Do Cuica", "Xingo", "Laranjeiras", "Eqiupe 68", "Unknown Song For Mario Telles", "Manha", "Duro De Roer", "Quem Tem Medo", "Juntos Mais Uma Vez", and "Bateria Do Mamao". CD

A sweet 80s groover from the mighty Azymuth – a set that's early in their run of albums during the decade for Fantasy Records, and one that offers up a nice adaptation of the groove from their early Brazilian classics! Tracks are nice and lean, and acoustic percussion is blended with keyboard work at a level that really opens up the sound – and which makes Azymuth so different from so many other fusion outfits recording in the US during the time – as does the occasional use of wordless vocals, and that really special sense of rhythm that the group deliver so well! The set includes the classic ten minute "Last Summer In Rio" – a great Fender Rhodes number that was once a huge steppers cut in Chicago – plus the great tracks "The House I Lived In", "What Price Samba", and "May I Have This Dance". CD

A really wonderful album – timeless in sound and style, and a set that almost takes us back to the warmth of some of our favorite Brazilian records from the 70s! Bala Desejo have a way of mixing harmonies with lead vocals that's completely sublime – often set to light percussion, acoustic guitar, and other spare instrumental touches that glow as nicely as the vocals! If you've heard some of the 70s material from Quarteto Em Cy, you'll know part of the vibe here – but there's also maybe a more contemporary sense of songwriting too, which really keeps things fresh – on titles that include "Lua Comanche", "Nesse Sofa", "Chupeta", "Faixa Tecnica", "Chronofagia", "Muito So", "Dourado Dourado", and "Lambe Lambe". CD

Very early work from Jose Roberto Bertrami – the keyboardist who rose to fame with Azymuth in the 70s, but who's working here in an all-acoustic bossa mode! In keeping with Bertrami's later talent for an unusual groove, the album's got a feel that's slightly different than the other bossa records of the time – styles that are sometimes less percussive, but still quite flowing – and which are graced by a depth of tone and color that's really wonderful! At some points, Bertrami almost hits modes that are straighter jazz – with traces of Horace Silver or other American players in the mix – even though the tracks are nearly all numbers by Brazilian composers. Titles include "Balansamba", "Taluhama", "Lilos Walts", "Dorme Profundo", "Impulso", and "Da Me". CD

A sweet mix of Brazilian grooves and New York attitude – an overlooked session from the end of the 90s – recorded in the US by Brazilian saxman Leo Gandelman, with soulful help from a variety of American players – including Reuben Wilson on organ and both Charlie Hunter and Grant Green Jr on guitar! There's a rich sort of 70s vibe to the record – a tight, funky blend of jazzy riffing and Brazilian percussion, all put together at a level that almost reminds us of Kudu Records at its best – lean, soulful, and surprisingly focused throughout – a great step forward for Gandelman, and for percussionist Juliano Zanoni, who co-arranged the set with Leo, and also wrote most of the tunes. Supposedly, the record never saw the light of day when it was recorded – making this sweet Far Out package its first-ever release! Titles include "Safari", "Pau Grande", "April 7th", "Dance", "Prince Samba", "Groove In The Head", "Pirulito", and "Charlie 1". CD

A collection that Milestone issued in 1973 that includes tracks from three of Byrd's early 60s Bossa Nova records – Latin Impressions, Bossa Nova Pelos Passaros and Once More/Charlie Byrd's Bossa Nova. Byrd and his unamplified guitar are joined by Keter Betts on bass and Bill Reichenbach on drums and Latin percussion; other players are also featured. The tracks are mainly composed by the big names of Bossa Nova – Jobim, Powell, Caymmi, Lyra – but there are several Byrd originals as well such as "Azul Tiple", "Bogota", "Mexican Song No 2", and "Amor Flamengo". CD also includes the album Once More! Charlie Byrd's Bossa Nova, a lovely little record from the man who helped Stan Getz find his bossa – and a set that's done with just a bit more backing than usual from Byrd for the time! The album makes nice use of additional percussion, vibes, cello, and a bit of flugelhorn to back up Byrd's work on acoustic guitar – never in a way that dominates too strongly, with just enough added sound to color in the grooves with a slightly deeper tone. Titles include "Presente De Natal", "Three Note Samba", "Limehouse Blues", "Cancao De Nimar Para Carol", "Chega De Saudade", and "Anna". (Jazz, Brazil) CD

A beautiful early album by Elizete Cardoso – arguably one of the first bossa nova records ever, and a set that features some great early tracks penned by Antonio Carlos Jobim and Vinicius De Moraes! The record is a haunting showcase for the genius of Jobim and Vinicius, and it includes early recordings of many many tracks that have now become bossa standards – like "Chega De Saudade", "Outra Vez", "Modinha", "Janelas Abertas", and "Cancao Do Amor Demais". The orchestrations are beautiful – arranged by Jobim, who also plays piano – and featuring a bit of guitar from Joao Gilberto, amidst flute, trombone, trumpet, and a bit of strings. Elizete's voice is richer and more emotional than that of most of the later bossa divas – and the record is a key link in a number of Brazilian musical traditions! CD

An album that's a really beautiful showcase for the reed work of Sam Gendel – as he plays here alongside guitarist Fabiano Do Nascimento, who really seems to unlock a different side in Sam's music! The album's got a lean vibe – very similar to some of Fabiano's other records, which we love – and Gendel blows soprano sax, but in this gentle way that's almost flute-like – skipping and lilting around the acoustic guitar at the core, as the pair play without any other backing at all! The record is another feather in Fabiano's cap, and has us really appreciating Gendel more than before – thanks to titles that include "Astral Flowers", "Ate De Manha", "Poeira", "Tupi", "Daiana", "Foi Boto", and "Capricho". CD

The return of a legend – and a tremendously groovy little record! Brazilian keyboardist/composer Antonio Adolfo's been making records for years – but easily his greatest albums were those cut at the end of the 60s with his Brazuka group – a cool combination of funky rhythms, electric keyboards, spacious production, and female vocals – all wrapped up with that glorious Blue Brazil sound of the EMI/Odeon label. Here, Adolfo recaptures that sound beautifully – returning to modes he hasn't touched in decades – and getting tremendous treatment from the Far Out label, who really help him hit that classic sound right. The record's an instantly timeless set that rivals all of Antonio's wonderful work from many years back – recorded with Adolfo on keyboards, live jazzy rhythms, a bit of strings, and twin harmony vocals from daughters Carol Saboya and Luisa Saboia – soaring out beautifully with a really groovy sound. The whole thing's wonderful – even better than you might expect – and titles include "Bola Da Vez", "Papo Furado", "Luizao", "Eu E Voce", "Tudo E Brasil", "Domingo Azul", "Tao Iguais", "SOS Amazonas", "Sonho Estelar", and "Dono Do Mundo". CD

A fantastically soulful album from Jorge Ben – one of his greatest records ever, and a key part of Brazilian music in the 70s! The album marks an earthier shift for Jorge – a sound that's still rooted in the samba influences of the 60s, but which also takes on a bit more soul at the bottom – thanks to rhythmic contributions from Trio Mocoto, who work here famously to help Ben shape the overall feel of the set! There's still a bit of larger orchestrations at moments, but these are used sparingly just to sweeten the sound – leaving the main force of the music to come from Jorge's guitar, and the cuica, percussion, and tamborim of the trio. The vocals are wonderful too – slightly raspy, and with a bit more feeling than we ever remember Jorge having on record – sometimes a bit intimate, yet always with an undeniable presence throughout. One of those records that still sends chills up our spines, year after year – with tracks that include "Oba La Vem Ela", "Ze Canjica", "Pulo Pulo", "Apareceu Aparecida", "Terezinha", "Mulher Brasileira", "Forca Bruta", "O Telefone Tocou Novamente", and "Charles Junior". CD

One of the darkest records we've ever heard from the Far Out label – a set that reminds us of some of the best Brazilian new wave that was showing up on compilations a few years back! Guitars are in the lead on most numbers – sometimes played with energy that's punkish, at other times psycheish – and the rhythms are quite powerful too – often a bit more complicated than standard Brazilian post-punk work, but equally driving. There's a bit of electronics in the mix at times – used sparely, again with sort of an early 80s vibe amidst the guitars – and the vocals are in Portuguese, with a pretty progressive sound. Titles include "Funeral", "LKJ", "Jazzhole", "Diretriz", "Tarde Demais", "Exprimental (Catnip)", and "Vamanda". CD

A really wonderful album from this ever-changing Brazilian group – a combo who started out in more standard Afro Funk modes years ago, but who've really shifted their music in all sorts of great ways over recent albums! There's still some strong use of horns and heavy percussion throughout – but they also work in keyboards and electronics in these really great ways – almost echoing some Brazilian musical experiments from that Trama Records generation at the start of the century, while also holding true to the more acoustic elements at their roots! Titles include "Baile Flutante", "Mar Virado", "Loa Lua", "Marginal Elevado Radial", and "Na Quarta Feira". CD

An overlooked gem from Chico's mid 80s period – a record filled with strong and subtle songs, often backed by some nicely jazz-tinged arrangements from Cristovao Bastos! The album's not as revolutionary as some of Chico's earlier records, but it more than makes up for that with an incredibly solid quality overall – and a mature, sophisticated approach to songwriting that easily matches some of Caetano Veloso's best work of the same time. Titles include "Pleas Tabelas", "Samba Do Grande Amor", "Mil Perdoes", "Vai Passar", "As Cartas", and "Suburbano Coracao". CD

A beautifully groovy album from Celia Reis – maybe the hippest set ever from this Brazilian singer who was equally at home in samba and bossa modes! Production and arrangements are by Arthur Verocai – which will give you an idea of the creativity that went into the record – as Verocai creates all these ambitious grooves that are very much in the best territory of some of the funky Marcos Valle work at the start of the 70s – basslines dipping under strings, all topped with Celia's wonderful vocals – which have a power here that we've never heard on other records – almost a Gal Costa sort of touch! Tracks include tunes by Valle, Verocai, and others – and titles include "Em Familia", "Mia", "Vida De Artista", "Dominus Tecum", "Ay Adelita", "Toda Quarta Feira Depois Do Amor", "A Hora E Essa", "E Preciso Dizer ADeus", and "Badalacao". CD

Funky keyboards galore – and one of the greatest records ever from this legendary Brazilian jazz talent! The album follows nicely off Deodato's Prelude classic for CTI – and like that one, this set's built on long-flowing tunes that rise and fall with a wonderful sense of rhythm – a sublime electric piano groove that's quite different than anything Deodato recorded before – and possibly never realized this perfectly again after his CTI years. Other players include Stanley Clarke on bass, Billy Cobham on drums, and Hubert Laws on flute – and titles include the massive Latin funk track "Super Strut", plus the tunes "Pavane For A Dead Princess", "Skyscrapers", and a great version of "Nights In White Satin". Plus, this CD reissue features 3 bonus tracks – "Venus", "Do It Again", and "Latin Flute"! (Jazz, Brazil) CD