A stunner of a record from the mighty Jorge Ben – and a record that catapulted the Brazilian singer to international fame at the time! Ben had already been making magic for almost a decade down in Brazil – and his compositions and grooves left an undeniable impact on the scene in the post-bossa years – but this album has Jorge really emerging as the global soul star he was destined to be – from his powerful stare on the cover, right down to the grit in the grooves! The sound here is a refinement of the samba soul mode that Ben had been brewing up from the late 60s onward – a skittish mix of older samba elements, American soul, and some slight fuller production that really comes into its own here – mixing all the acoustic elements at the core with just a slight electric flourish, but never losing its edge in the process – all to provide Jorge with a sublime backdrop for his really amazing vocals. The set's a monument in funky Brazilian soul – and it includes the huge hit "Taj Mahal", which still sounds great, even after all these years – plus loads of other gems that include "O Circo Chegou", "Domingo 23", "Fio Maravilha", "Paz E Arroz", "Morre O Burro Fico O Homem", and "Que Nega E Essa". A gem all the way through – and a record we'd never part with! 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

The start of an amazing legacy in Brazilian music – and a record that really lives up to its title! Jorge Ben completely reinvents the samba here – and comes up with his own new groove in the process – by blending sharp acoustic guitar lines with rootsy percussion – all at a level that's far more rhythmic than the used of the instrument in bossa nova. There's definitely a bossa element – but Joao's singing is a lot more soulful, as is the overall performance – and the styles started here not only launched Ben's career, but also had a huge influence on generations of musicians to come! Titles include the sublime original version of "Mas Que Nada" - plus "Tim Dom Dom", "Chove Chuva", "A Tamba", "Balanca Pema", and "Rosa Menina Rosa". Great stuff, and essential all the way through – we promise! CD

Gal Costa sings the music of Dorival Caymmi, but does so at a level that's completely different than his classics – often adding in currents of funk, jazz, and samba soul – sometimes with help from Joao Donato, who also plays keyboards on the set! The record's a perfect blend of modes – as Gal's got that later sweet style in her vocals, but never in a way that's too smooth or commercial – and she really grabs us with the approach she brings to these tunes! Instrumentation is great, too – and also features guitar from Roberto Menescal, more keyboards from Antonio Adolfo, and organ from Ze Roberto – all artists whose hip touches help the whole thing sparkle in a blend of soul and sophistication. Titles include "Rainha Do Mar", "Festa Da Rua", "Sao Salvador", "Vatapa", "Nem Eu", "O Vento", and "Pescaria". CD

Landmark work by one of the greatest Brazilian jazz groups ever! This mid 60s gem is the second release by sax player JT Meirelles and his legendary Copa 5 combo – a killer group that featured Eumir Deodato on piano, Edison Machado on drums, Roberto Menescal on guitar, Manoel Gusmao on bass, and Waltel Branco on electric guitar. The tracks pick up from the brilliance of the group's first album – mixing bossa nova with American hardbop styles, soloing majestically with a skill that you'll find in few other Brazilian groups of the time. The album's a winner both for fans of jazz and Brazilian rhythms – and titles include "O Novo Som", "Samba Do Carioca", "Samba De Verao", "Solo", "Serelepe", and "Diz Que Fui Por Ai". CD

A landmark in Brazilian music – one of the best jazz recordings to come out of the country during the 60s! Saxophonist JT Meirelles heads up a crack combo that includes Luiz Carlos Vinhas on piano and Dom Um Romao on drums – and the set bristles with the intensity of the best American 60s recordings on Blue Note. The complex rhythms set up the best of Brazil in the post-bossa era – and the soulful solos by Meirelles and Vinhas really give the session a tremendous amount of depth and expression. A fantastic treat all the way through – and not to be missed if you're a fan of either Brazilian music or jazz! Titles include "Tania", "Blue Bottles", "Quintessencia", "Solitude", and "Contemplacao". CD

Quite possibly the clearest moment of genius ever from the legendary Hermeto Pascoal – a tremendous album that helped reshape instrumental Brazilian music for many years to come! At one level, the record shares a sound with some of the fuller, richer orchestrations going on in the post-bossa years – especially the work of Edu Lobo and Marcos Valle – but at another, it's filled with the kind of inventive instrumental interplay that's always made Hermeto so great, but which has never come off so perfectly as it does here! As you might expect from Pascoal, there's some especially great reed passages – crafted in a flurry of colors and tones – but there's also a warmer, more flowing quality to the whole album – less of the dark notes and pointy edges that show up often in Hermeto's work from later years. Bits of strings help the whole thing glide tremendously – and the record's a genre-busting blend of jazz, Brazilian roots, and complicated arrangements – unlike anything else we've ever heard, and still one of our favorite albums of all time! Titles include "Bebe", "Asa Branca", "Carinhoso", "Plin", "Gaio Da Roseira", and "Sereiarei". CD

A beautiful album from the early 70s – and one that shows Elis Regina really transforming her jazzy bossa style into something far more complicated and baroque! She's working here with her best arranger, Cesar Camargo Mariano, and the tracks feature small-group performances that include players like Toninho Horta, Roberto Menescal, and Paulinho – all coming together beautifully to match the deepening emotion in Regina's vocals. Titles include a great version of Gilberto Gil's "Oriente", plus the tracks "Doente Morena", "Agnus Sei", "Meio Do Campo", "Folhas Secas", and "Ladeira Da Preguica". CD

An album of pure genius – easily one of the greatest Brazilian albums ever, and a landmark set from the Tropicalia years! There's a brilliance here that's hard to describe accurately – quite possibly because the young Caetano Veloso is experimenting with so many new ideas, the album explodes with fresh energy on each new track! Offbeat bossa runs into weird production effects, subtle psychedelia, and heartfelt singer/songwriter material – all arranged by the mighty Rogerio Duprat, and featuring guest work from Gilberto Gil on guitar. The range of work here is tremendous – from the political "Empty Boat" to the fantastical "Lost in the Paradise", through other classics that include "Irene", "Os Argonautas", "Carolina", "Alfomega", "Chuvas De Verao", "Objeto Nao Identifcado", "Atras Do Trio Eletrico", and "Marinheiro So". CD

One of the greatest albums ever from Caetano Veloso – a rare all-English language set, recorded in London during the years of his exile! The post-Tropicalia set is a fair bit different than any other Veloso album we can think of – not just because of the English language, but also because the approach is somewhat gentle, and almost folksy at times – a real change from his experimental modes of the late 60s, and easily his most personal statement to date. The tunes are incredibly beautiful – filled with themes of loss and longing that no doubt come from his separation from Brazil – and although a few tunes feature light strings from Phil Ryan, most of the backings are relatively light, and almost acoustic. Titles include the classics "Shoot Me Dead", "If You Hold a Stone", "Maria Bethania", "In The Hot Sun Of A Christmas Day", and "London, London" – plus a cover of "Asa Branca". CD

A really overlooked album from Caetano Veloso – one that's quite different than the more experimental modes of records like his Tropicalia sets, or his Araca Azul record – but with a unique charm that makes it every bit as special as those! The set's quite stripped-down and personal – and really has Veloso getting back to basics – in ways that are a bit like his UK album from 1971, but more upbeat and positive too. The tunes are really thoughtfully presented, with spare backing that puts Veloso's amazing vocals right out front – heard to especially wonderful effect on the album's English-language readings of three late Beatles tracks – "Eleanor Rigby", "For No One", and "Lady Madonna". All titles are great, though – and tunes include "Nicinha", "La Flor De La Canela", "Drume Negrinha", and "Samba E Amor". CD