One of Maria Bethania's first albums, and a beautiful set of live recordings – with a vibe that's a lot more uptempo and swinging than some of her later work! The style here almost has traces of bossa – a lighter, groovier feel at times than some of the more emotive modes that Bethania became known for during her run of 70s MPB. Backing here is by the bossa-esque Terra Trio, and they accompany her deep rich voice nicely on tracks like "Marina", "Carinhoso", "Marginalia II", "Ele Valava Nisso Todo Dia", and a great version of Caetano Veloso's "Baby". Very cool cover, too – with a trippy painting that has Maria's nude torso covered with flowers and bugs! LP, Vinyl record album

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

Beautiful live set from 1971, featuring a very stripped down set of stuff. Gal comes in at first accompanying herself on guitar, then the band slowly joins in, but never really gets in the way of her voice. The sound is spare, and the production rough, and this one has a dark moody feel to it that you don't always get with her LPs. Tracks include "Falsa Baiana", "Coracao Vagabundo", "Como 2 e 2", and "Hotel Das Estrelas". LP, Vinyl record album

Just voice and guitar – a wonderful way to hear the talents of Gilberto Gil, especially after an array of sometimes-muddled styles used on some of his later work! This gem from the late 90s features Gilberto in one of his most stripped-down modes ever – just singing and with his own gentle guitar as accompaniment, in a gentle mode that's quite different from most of his other records, and almost reminds us a bit of his classic album from 1971 – except that here the lyrics are all in Portuguese, and the sound is a little warmer and more optimistic! The recording quality is great – tight enough to capture all the intimacy of the performance, but never too fake or "studio" – and titles include "O Seu Amor", "Aqui E Agora", "Preciso Aprender A So Ser", "Tempo Rei", "Retiros Espirituais", "Rebento", "Metafora", "Meditacao", and "O Compositor Me Disse". CD

A wonderful album from the lovely Joyce – one of her best of recent years! The record features Joyce working with bossa maestro Joao Donato – who plays acoustic and electric piano, sings, and helps Joyce with some of the arrangements – and the overall style of the album is very much in the vein of some of his most beautiful work. The set was with contributions from Brazilian jazz players like Paulo Moura, Gilson Peranzzetta, and Tutty Moreno – and Joyce is in fantastic form, singing and playing acoustic guitar with all the soulful passion of her best early recordings. The production is great, too – and the album has a rawer edge than some of Joyce's other work from the 90s – nicely stripped-down, with a rasp in both her vocals and the work of the other jazz players. Titles include "Bananeira", "Anos 30", "Drume Negrita", "Tudo Bonito", "Gala Tanta", "Falta De Ar", "Adolescensia", and "So Tinha De Ser Com Voce". CD

Seminal work from the man credited with the invention of bossa nova! Way back in the early 50s, Bud Shank cut some albums for Pacific Jazz in LA with guitarist Laurindo Almeida. These records mixed together Shank's flute and sax with lively guitar stylings by Almeida – and in many accounts, the recordings are quoted as being a seminal influence on the bossa scene in late 50s Brazil. No surprise, then, that when bossa broke in the US, Pacific Jazz took Shank back in the studio to cut more side in the same style – which is what you'll get on this excellent 2CD set! The work here ranges from 1962 to 1965 – and it features Shank playing in a number of groups: one with Clare Fisher piano, Larry Bunker vibes, and Milt Holland percussion; one with Fisher on piano and organ, Bunker on vibes, and Joe Pass on guitar; one with Joao Donato on piano and Rosinha De Valenca on guitar; and one with De Valenca on guitar and Sergio Mendes on piano. The 2CD set features 28 tracks in all – all pure stripped-down bossa jazz at its finest. Shank's a hell of a reed player – and the format gives him one of the best platforms to blow of his career. Titles include "Sambou Sambou", "Elizete", "Um Abraco No Bonfa", "Gostoso", "Joao", "Serenidade", "Silk Stop", "Sausalito", "Illusao", "Caminho De Casa", "Otem A Note", "Wistful Samba", "O Barquinho", and "Samba Guapo". (Jazz, Brazil) CD

Some of the earliest recordings of Brazilian percussionist Nana Vasconcelos – an artist who'd go on to have a huge history in jazz, including famous work with Pat Metheny on ECM! This set has Nana very much in his roots – playing first on a stunning solo percussion track that mixes melodic sounds on cuica with a whole host of other percussion instruments – then joining in this sublime improvisation with guitarist Agustin Pereyra Lucena – another favorite player of ours, and one who normally never records in such a stripped down mode! The mixture of percussion and guitar is fantastic – full of fresh ideas, and a great showcase for Lucena – who then takes off on two shorter solo tracks too. Titles include "Concerto Pra Mae Bio", "Improvisacao", "Tempo Feliz", and "Conversa Do Poeta". CD

Some of the earliest recordings of Brazilian percussionist Nana Vasconcelos – an artist who'd go on to have a huge history in jazz, including famous work with Pat Metheny on ECM! This set has Nana very much in his roots – playing first on a stunning solo percussion track that mixes melodic sounds on cuica with a whole host of other percussion instruments – then joining in this sublime improvisation with guitarist Agustin Pereyra Lucena – another favorite player of ours, and one who normally never records in such a stripped down mode! The mixture of percussion and guitar is fantastic – full of fresh ideas, and a great showcase for Lucena – who then takes off on two shorter solo tracks too. Titles include "Concerto Pra Mae Bio", "Improvisacao", "Tempo Feliz", and "Conversa Do Poeta". LP, Vinyl record album

A wildly eclectic brew of driving heaviness, looser trippiness, and even some delicate moments from Billy Bond – a more freewheeling and ambitious mix of post psychedelic wildness from Brazil's Billy Bond & co! Volume 3 from 1972 is made up of 2 lengthy suites, " Lado 1 – Acustico" and "Lado 2 – Eectrica Camplementaria". The former is surprisingly lean in spots, with some folky psychedelia in the blender. The latter is full of abrupt, dramatic stop-start dynamics. Volume 4 from '73 includes "No Nos Paran Mas", "Hacia Algun Lugar", Gracias Al Cielo", "Estamos Hartos", "Ano 1939", "Algo Esta Por Suceder" and more. This one is more of a wild and wooly rock & roll set, and a deliciously unpredictable one! CD

A fantastic soundtrack recorded in the immediate post-Tropicalia years – featuring some of the best early 70s work by Chico Buarque, Nara Leao, Maria Bethania, and others! The cover has a mad image with Buarque, Leao, and Bethania in top hats and shiny uniforms – and the music follows up with a similarly lively spirit – samba-esque, with other touches of rock and jazz production that give the work an expansive and trippy feel. Roberto Menescal handled the arrangements – and titles include "Cacada" by Chico Buarque, "Mais Uma Estrela" by Nara Leao, "Soneto" by Orquesta De Cordas, "Soneto" by Nara Leao, "Partido Alto" by MPB-4, "Formosa" by Nara Leao & Maria Bethania, "Baioque" by Maria Bethania, and "Cantores De Radio" by Chico, Naria, and Maria together! LP, Vinyl record album

Gilberto Gil live at Montreux – playing in this spare, stripped-down style that's quite a change from some of his more fully produced albums of the period – a mode that's very much like some of Gilberto's best albums from the start of the 70s! There's a lot of acoustic guitar in the instrumentation – as you'd guess from the cover – and backing is by a jazzy combo who can bring a slight touch of funk at times, but only in these gentle ways that still live Gil holding most of the energy of the performance with his charismatic presence. The tracks are all very long, with the kind of vocal and instrumental jamming that Gil brought to his best live performances – and the set's recorded in such a way that it really draws the audience into the picture. Titles include "Chororo", "Chuck Berry Fields Forever", "Atras Do Trio Electrico", "Tirole", and "Bat Macumba". 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". (Rock, Brazil) LP, Vinyl record album

Brazilian singer Momo might well be taking the title of this album seriously – as the whole thing's got a nicely stripped-down vibe that's somehow even more powerful than before – like those mid 70s moments when Cateano Veloso dropped out some of the instrumentation, and let all the charms of his vocals really shine through! That's definitely the case here – as Momo's raspy appeal somehow makes us feel as if we can understand the Portuguese lyrics of the tunes – not that we know the language, but his way of putting over a song is wonderful – and the instrumentation changes up in subtle ways from track to track, really keeping things interesting – on titles that include "Sereno Canto", "Marigold", "Diz A Verdade", "For I Am Just A Reckless Child", "Mon Neant", "Vida", and "Mes Yeux Creves". LP, Vinyl record album

The long awaited return of Brazilian iconoclasts Os Mutantes – featuring original Mutante Sergio Dias and a great new band – plus songwriting contributions from Tom Ze and Jorge Ben – a forward looking endeavor, not at all a nostalgia trip! It's been around 30 years since the previous Os Mutantes album, and the never predictable Dias sounds as fresh and energized as we hoped he'd be – with bright, catchy-as-hell melodies, wildly playful carnivalesque sounds as well as more rootsy acoustic bits, on songs that fearlessly blend genres and influences. It's hard to imagine that we'll ever love records from Mutantes, or anyone else in any genre, as much as we love the late 60s stuff – but this is excellent, and among the better Mutantes records since the Rita Lee era. Dias sings and plays electric & acoustic guitars, Egyptian oud, organ, percussion, harmonica and handles the string arrangements, and fellow Mutantes this time out include percussion, drums & vocals by Dinho Leme and Bia Mendes, vocals, piano & keys by Henrique Peters and Fabio Recco, percussion & sound design by Simone Sou, bass, flute, strings and string arrangements and more by Citor Trida. Titles include "Hymns Of The World (Intro)", "Querida Qierida", "Teclar", "2000 E Agarrum", "Baghdad Blues", "O Careca", "O Mensageiro", "Anagrama" featuring Tom Ze, "Aamba Do Fidel", "Nada Mudou", "Gopala Krishna Om", "Hymns Of The World (Final)" and more. CD

Wonderful stuff from the lovely Quarteto Em Cy – but aren't they always wonderful? The record's got a spare stripped-down instrumental style, and was recorded live with bossa backing – so that the girls' voices are right out front, free and clear, doing the main work of the songs. The harmonies are as heavenly as always, and tracks include "Samambaias", "Resistindo", "Canta, Canta Mais", "Funeral De Um Lavrador", and "Dorme, Meu Menino, Dorme". LP, Vinyl record album

Another feather in the Six Degrees cap – and like the rest of their Brazilian music repertoire, an artist who seems bent on breaking down boundaries – both in styles and generations! Ceu's got the same "old is new" feeling as some of the label's other work in recent years – a mode that takes older bossa, samba, and other styles (including dub) – and reworks it using a lightly playful quality, and a relatively stripped-down feel overall. Instrumentation here is mostly acoustic – especially on the rhythms – but it does include some electric bits on keyboards and turntables, used lightly enough as to not interfere with the organic quality of the sound. Ceu's vocals are light, too – but also slightly raspy, in a way that makes them a lot better from some of the too-dreamy singing you might expect on a record like this. Titles include "Lenda", "Malemolencia", "10 Contados", "Vinheta Dorival", "Ave Cruz", "Concrete Jungle", "Vinheta Quebrante", "Samba Na Sola", and "Bobagem". CD