A wickedly wonderful album by Antonio Carlos Jobim – recorded in LA in the mid 60s, and a perfect meeting of styles that makes for one of his most compelling albums of the 60s! Jobim sings and plays over pillowy-soft arrangements by Claus Ogerman – lightly dancing numbers that weave strings and woodwinds into a wave of sound that dips, turns, and sometimes hits a surprisingly nice groove. Dick Hyman plays a bit of organ on the set – which we always love – and Dom Um Romao's working in the group somewhere on drums. Lyrics are in English, sung in a warm and fragile style by Jobim – and the album's got a great organy version of "Surfboard", plus "Zingaro", "Bonita", "Off-Key", and "Photograph". 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

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

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

One of the more obscure Brazilian harmony bossa albums of the 60s – yet a set that we'd put right up there next to our favorite work from Sergio Mendes & Brasil 66 – and maybe some of the even groovier acts recording down in Brazil! Mario Castro Neves is best known as a piano player and arranger – and he brings a jazzy vibe to this set, working with a core trio that features Normando on drums and Novelli on bass – while also opening the door to work from female singers Thais and Biba, who soar together in a breezy duet mode – very Brasil 66, but leaner and groovier too – with some scatting qualities that also show an influence from European jazz! There's a sparkling sound here that's strongly influenced by bossa, but which also has some sunnier 60s touches too – and Mario's arranging skills are at an all-time high on the lightly dancing rhythms of the tunes. Titles include "Candomble", "Nana", "E Nada Mais", "Keep Talking", "Once More", "Ta Por Fora", and "Morte De Um Deus De Sal". 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

A warm jazzy gem from 70s Brazil – a set that's filled with incredible keyboard work from Guilherme Coutinho, who handles organ, electric piano, and other keyboards too – mixed with vocal modes that often have the best sorts of jazzy touches from the scene at the time! The blend is the sort you'd find on some of your favorites from back in the day – such as work by Joao Donato or Marcos Valle – but there are moments that are also more personal and unique, including a few spots where Coutinho gets all cool and moogy with the keys! Titles include "Fuga", "Flauta De Bambu", "Rio Corrente", "Foicera", "As Ferras", "Atalaia", and "Tema Pro Alvarito". CD

A rootsy set with a jazzy vibe – a set that blends the wonderful vocals of Eloah with some heavy percussion, soaring horns, and other great instrumental touches – all in a blend of modes that's pretty darn unique! The album might belong in the school of samba, but it's got a much more ambitious vibe overall – as if those core samba inspirations were taken to new heights through some of the larger, fuller arrangements that were bubbling in the Brazilian scene of the period – as you might find in the music of Edu Lobo or Marcos Valle! Eloah's also got a power that's all her own, too – some of the soul of a singer like Elza Soares, but also the kind of majesty we love in the music of Zelia Barbosa – or in a male version, maybe Geraldo Vandre – who's an equally unique artist of his own. The whole thing's a real lost treasure – with a vibe that's more late 60s than late 70s, given the production and instrumentation – and titles include "Oxala", "Exu", "Ogun", "Xango", "Yemanja Berimbau", "Axe Opo Afonja Aluja", and "Logun Ede". CD

A gorgeous album of Brazilian vocal jazz – a set that blends bossa roots, Brazilian jazz, and some of the sunnier touches you might find coming from Bay Area interpretations of the music in the late 70s/early 80s – such as work by Joyce Cooling or Viva Brasil! Patricia King handles the lead vocals and piano – and she's got this wonderfully soaring style that's also a bit like some of the hipper European vocalists who emerged in the wake of Tania Maria's important 70s recordings in Paris. Orlando handles guitars and a bit of vocals too – and the group has great basslines, flute, and plenty of percussion to really keep things lively – all of which makes for one of the best examples we've ever heard of this sort of style. Titles include "Sambawalk", "Choro Sambaiao", "Cancao Da Chuva", "Calma Mulher", "Num Dia Azul", and "Sinal Verde". CD

One of the coolest records ever cut by Ze Rodrix, as you might guess from the image on the cover – very different than some of his more staid recordings on the Brazilian scene, and instead a very dynamic soundtrack that's full of funky moments! Ze's clearly got the bug of the American and European scenes of the period, but he's not aping Italian cop/crime or US blacksploitation – as his use of funky elements comes across in all these different ways, with plenty of mad rhythms, unusual arrangements, offbeat production, and even a strange sense of pacing that makes the whole record a treasure trove of surprise delights! There's some especially great use of keyboards, but that's just the tip of the iceberg – and titles include "Motoqueiros", "Esconderijo", "Rhumba", "Tema De Amor", "Esquadrao Da Morte", and "Chorinho Pro Tio". CD

A contemporary set, but one that may well be destined to become an instant classic in the world of Brazilian music – as the young Rubel has a way of embracing so many traditions of his culture, while also finding a way to move things forward boldly! The approach here is different than some of the pastiche, postmodern Brazilian styles of the past few decades – as Rubel dives right in, puts his heart on his sleeve, and infuses the tunes with a personal sense of warmth and honesty – while also doing all sorts of cool things with elements of forro, bossa, samba, and other modes – reworking them with an ear for some of the grander experiments from older generations when Brazilian intellectuals were taking keen inspiration from farther cultural reaches. The approach is maybe a bit hard to describe in words, but has an instant universal appeal that goes way beyond the boundaries of typical Brazilian fandom – as you'll hear on cuts that include "Posso Dizer", "Grao De Areia", "Forro Violento", "Toda Beleza", "Rubelia", "As Palavras", and "Samba De Amanda E Te". CD

A totally unique album from the Brazilian scene of the 60s – a set that was recorded right in the middle of the big Tropicalia years, but which has more of the earthier touches that would emerge in the Brazilian scene during the 70s! Yet there's also a sense of tight arrangement here too – a bit like the soulful crackle that came from some of the EMI/Odeon sessions, but served up with a more folklyric sense of instrumentation – lots of percussion, cuica, and other regional elements – sometimes topped with a single horn, or maybe just a string flourish – but never in a way that dampens the earthy energy at the core! The sound is fantastic – mostly instrumental, although with some spare vocals too – and titles include "Agua Viva", "Ritual Negro", "Desengano Da Vista", "Dual", "Arabindu", "Quem Sou Eu", "Advertencia", and "Sem Sombra". CD

A tripped-out set of acid folk guitar from Satwa – featuring Brazilian psychedelic folk genius Lula Cortes, in a feel that's very much like his own great work of the time! Satwa is one of the sweetest sets of psych folk jams we've heard in ages – with a mostly-instrumental, wholly mesmerizing sound spun by Lula on sitar and partner Lailson on 12 string guitar – a rich acoustic blend that's even deeper and more enigmatic than music of this type from the American scene! There's a bit of guest lead guitar on one track by Robertinho Do Recife – and titles include "Satwa", "Can I Be Satwa", "Alegro Piradissimo", "Lia A Rainha Da Noite", "Apacidonata", "Amigo", "Atom", "Blue Do Cachorro Muito Louco", "Valsa Dos Cogumelos", and "Alegria Do Povo". CD

It's no secret that the city of Rio De Janeiro has an amazing musical legacy – one that began in the years before bossa nova became their calling card in the 60s, through so many musical revolutions in the 70s – on up to the current day, when the city is still abuzz with all sorts of amazing and fresh musical styles! Not long ago, we were very plugged into the sound of Rio through countless great records issued on the Brazilian scene – but more recently, things have gone digital and a bit more underground – which makes a collection like this such an essential way of keeping in touch with the music – a really well-done collection that shows just how much has been happing in Brazil in recent years! There's definitely echoes of older styles in the music, but they resonate with a freshness that's amazing – with qualities that make each new tune on the set a real delight – in a lineup that features titles that include "Sigo Num Site/Marmore" by Rosabege, "Vento De Bierada" by Dora Morelenbaum, "Bandeide" by Troa, "Gigolo" by Jonas Sa, "Soar Estranho" by Tiago Nassif, "Cliche" by Pedro Fonte, "Saudade"b y Ana Frango Electrico, "Avos De Experienca" by Exercito De Bebes, "Briga De Familia" by Vovo Bebe, "Apreco Antigo" by Le Ameida, "Sambolero" by Os Ritmistas, and "Dois Litorais" by Joana Quieroz. CD

A stunning tribute to the music of Jorge Ben – a host of classic covers from the 60s and 70s, all of which share Jorge's love for an upbeat, soulful groove! The set's exploding with life and energy – that new sort of groove that Ben first unleashed on Brazilian music in the 60s, which was quickly taken up by most of his contemporaries – as you'll hear on the wonderful tunes in this set! There's a ridiculous amount of music on the collection – over two dozen tunes, a number of which we'd never heard before – and although Jorge doesn't sing on any of them, the vocalists are all clearly inspired by his sense of warmth and soul. Every cut's a groover – and titles include "Quem Mandou" by Osmar Milito, "Zazueira" by Wilson Simonal, "Pulo Pulo" by Elza Soares, "Se Voce Quiser Mas Sem Bronquear" by Doris Monteiro, "Tenha Fe Pois Amanha Um Lindo Dia Vai Nascer" and "La Vem Salgueiro" by Os Originais Do Samba, "Carolina Carol Bela" by Os Brazoes, "Speed" by Sonia Santos, "Rei Do Maracatu" by Cyro Aguiar, "Cosa Nostra" by Os Mutreteiros Grilados, "Fio Maravilha" by Marijo, "Pais Tropical" by Wilson Simonal, and "Mas Que Nada" by Elza Soares. CD

An excellent album by one of the greatest Brazilian funk bands ever – a wonderful blend of funk, jazz, and soul – and a set that rivals any of the best work coming from the US at the time! These guys are right on the money right from the start – moving through sharp changes with effortless ease, yet never in a way that's too slick or commercial – kind of like that perfect balance that Kool & The Gang hit for just a few records in the mid 70s – but with more of a Brazilian feel overall. Jazzy licks abound – and the keyboards, guitar, and horns are just great – but the set's also got some more regional percussion, too – which really rounds out the record wonderfully. The grooves all have a really universal appeal – essential for any fan of funky sounds – and titles include "Mr Funky Samba", "Junia", "Casa Forte", "Na Baixa Do Sapateiro", "Lelbon Via Vaz Lobo", "Baia", "Maria Fumaca", and "Metalurgia". CD

A record with a very plain cover, but one that contains some of the most searing guitar work of the early 70s – the one and only album by a short-lived group from Brazil – one who mix Sabbath-style hard rock with some more experimental modes – all at a level that's completely unlike anything we can think of from the time! There's some really offbeat production twists that almost seem to be learned from the Tropicalia generation – although the music here is much more straightforward, and delivered with familiar guitar, organ, bass, and drums – familiar instruments that, as in the hands of some of the giants of the time, take on raw power and sounds of their own when pushed to their limits! Lyrics are all in Portuguese, but that hardly matters, given the instrumental intensity of the set – which includes the titles "Turpe Est Sine Crine Caput", "Nao Fale Com Paredes", "Metro Mental", "Animaia", and "Espelho". The CD version is loaded with bonus tracks, too – including rare singles released under the name Modulo 1000 and the pseudonymous Love Machine – with titles include including "Ferrugem E Fuligem", "The Cancer Stick", "Waiting For Tomorrow", "Gloriosa", "Cafusa" and more. 17 tracks in all! (Rock, Brazil) CD

Incredible work from Lenine – easily his best album so far, and that's saying a lot, given the quality of the other sets! This one is landmark, though – the kind of record that seems to push Lenine even further into the stratosphere of MPB, recorded live and delivered with a depth that almost rivals the greatness of Caetano Veloso or Gilberto Gil during the 1970s! The set was recorded in Paris, where Lenine's found a very welcoming audience – and it's got a relaxed, intimate feel that's quite different than the tighter production of his studio albums. Instrumentation is a mix of electric and acoustic, mostly in a guitar-based mode – but there's a magically flowing sense of soul to the whole thing that's really sublime – the sort of perfect songwriting and delivery that grabs us instantly, even if we can't understand the full translations of the tunes. Consider this one global soul at its best – the kind of record that shows that boundaries can still be broken in the 21st century, even without clever tricks, gimmicks, or trashy marketing. A real delight all the way through – and one that really caught us by surprise! Titles include "Do It", "Ninguem Faz Ideia", "Todos Os Caminhos", "Sentimental", "Virou Areia", "Anna E Eu", "Rosebud", and "Vivo". CD

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". CD

A crowning classic from maestro Waltel Branco – a Brazilian talent who could be smooth and sophisticated, but also pretty darn funky too – especially on this famous album from this 70s! The set takes off in a large ensemble vein of Brazilian grooves from a few years before – kind of more of a kick to the Blue Brazil/Odeon generation, as Branco works with a large string and horn section, but also ensures lots of tightness in the rhythms, and sweet electric touches on keyboards. There's a bit of Brazilian percussion at times – which let you know you're not in familiar CTI territory – and as with so many other great Brazilian albums of the time, the production is superb – really different than on American records of this nature. Titles include "Lady Samba", "Jael", "Satiricon", "Walking", "Luar Do SErgao", "Petit Fils", and "Zoraia". CD

An amazing bit of Brazilian funk – and the best album ever by this exciting soulful duo! The record's their first, and it's got a crackling intensity that you don't always find on their other albums – a groove that mixes hard samba with bass-heavy funk, with a sound that makes them one of the most important forces of the Samba Soul generation! There's lots here to love if you like the heavy grooves of Jorge Ben or Tim Maia – but the duo also have a really great approach of their own – especially in the way they'll trade voices back and forth, over grooves that also have plenty of back/forth action too! The record includes the amazing heavy piano/percussion jammer "Hipnose", plus the great cuts "Voce Abusou", "Kabaluere", "Se Quiser Valer", "Deus O Salve", "Nord West", and "Dalena". CD

Brazilian grooves all over the place – and a wonderful assortment of tunes from the Warner, Atlantic, and Elektra vaults of the 60s and 70s! The set list goes way past the pop-bossa numbers that you might think from the cover, which is a cop from an old Atlantic compilation of the 60s – and includes some lesser-known tracks cooked up in Brazil during the 70s, as well as some of their American counterparts. Titles include "Celebration Suite" by Airto, "Jive Samba" by Jon Hendricks, "Eu Bebo Sim" by Osmar Milito, "Mr Funky Samba" by Banda Black Rio, "From The Lonely Afternoon" by Flora Purim, "Mas Que Nada" by Ella Fitzgerald, "Upa Neguinho (live)" by Elis Regina, "Tim Tim Por Tim Tim" by Joao Gilberto, "Crickets Sing For Anamaria (inst)" by Marcos Valle, "Manha De Carnival" by Louie Ramirez, "Barsanova Brown" by Eddie Cano, "Batuque" by Marcos Valle, and "Maria Fumaca" by Banda Black Rio. (Funky Compilations, Brazil) CD