A set that's a bit mellower than some of the other 60s records by Brazilian organist Ely Arcoverde – but one that's still got a very groovy sound overall! As you'd guess by the "boleros" in the title, most tunes are ballads – slow-steppers with a great late nite vibe, which gives Ely plenty of room to work all this cool magic on the keys of the electric organ – at a level that's somewhere between American jazz Hammond players, and maybe the more exotic modes of an artist like Korla Pandit! As with other records, Ely finds a way to "sing" through the keys – almost an early organ-driven version of vocoder material – and titles include "Que Sera De Ti", "O Divorcio", "Sonhar Contigo", "Abraca Me", and the side-long "Selecao De Boleros". CD
Some of the weirdest, wildest organ work we've ever heard – and that's coming from folks with a record collection stuffed with Jack McDuff, Jimmy Smith, and even Sun Ra! Ely Arcoverde is a bit in the territory of Brazilian 60s organ contemporary Walter Wanderley – especially in the way that he mixes his melodies with samba rhythms – but he's also got a very different approach on the keyboard, and often uses the instrument to "sing" – in ways that are very much like the "canta" promised in the title! At some points, we'd swear that Ely was almost using an early variation of a vocoder – not that the sound is 80s, but that he gets this really cool "voice" out of the instrument – as it moves between percussion, occasional chorus vocals, and some nicely jazzy instrumentation. Titles include "O Morro Nao Tem Vez", "Cidade Maravilhosa", "Madame Fulana De Tal", "Samba Da Minha Terra", "Canta Maria", "Tem Bobo Pra Tudo", and "Agua Com Areia". CD
A really unusual album from Brazilian organist Celio Balona – first, in that it's recorded in a small nightclub in Belo Horizonte, which gives the whole thing a different vibe than Celio's studio work – and second, in that it has singers on a number of tracks – which provides a very groovy accompaniment to Balona's work on organ! The crowd is nicely responsive – small, but enthusiastic – and the whole thing almost feels a lot more like some back room party from mid 60s Brazil, than it does the same style of instrumental records from the time! Titles include "The Boogaloo Dance", "Something's Gotta Give", "Marina", "Dio Come Ti Amo", "Quando M'Inamoro", and "Voltei". CD features bonus tracks – a cool take on "Batman", and "Tema De Onibus". CD
A great later album from samba singer Elizeth Cardoso – one that has a sophisticated sound that really matches her maturing vocals, thanks to a nice dose of jazz in the mix! Elizeth approaches the lyrics like a grand dame of Brazilian music – with a subtle sense of majesty touched by just the right of lived experience to really make the lyrics resonate – all warmed up by these really nice arrangements from Sergio Carvalho, who also plays a bit of acoustic and electric piano on the set too. Dori Caymmi arranges in a few points with Sergio, and also plays piano – and titles include "Prezado Amigo", "Viver Por Esperar", "Velha Poeira", "O Nosso Olhar", "Olha Moco", and "Bebeco E Doca". CD
Juca Chaves relaxes in bed on the cover, but he's actually sounding a bit more formal throughout the album – working with great arrangements from Radames Gnatalli, always heavy on woodwinds – and with a sophisticated style that brings a lot to his music. The clarinets and other woodwinds give things a mature set of tones and colors – and titles include "Cantiga Para Yara Dormir E Sonhar", "Nos Irracionais", "A Cumplice", "Cantata Para A Condessa Alessandra", "Que Saudade", and "Por Quem Sonha Ana Maria". CD
A rare harmony pop set from 60s Brazil – very much in the mode of some of the other bigger groups of the bossa generation, like Quarteto Em Cy or Os Cariocas – but served up here by a group of mixed male and female singers! Rhythms are light and lively – a jazzy blend of samba and bossa – and the singers strongly take the lead, with criss-crossing vocals that really make the whole thing sparkle throughout! There's a bit of the warmth of American male/female harmony groups from the 50s, but the production and language are very Brazilian – and titles include "A Menina Da Tranca", "Moca Da Chuva", "Azul Contente", "O Que Eu Gosto De Voce", "Joao Sebestiao Bach", "Palhacada", and "Vozes E Flores". CD
A late 80s album from Jorginho Do Imperio – but one that's got the same sharp samba vibe as similar records from a decade or two before! The production is great – mostly in that wide, echoey RGE Records mode – which allows the lively percussion, guitar lines, and chorus vocals to resonate with this great sense of space behind Jorginho's led – which itself has this bold, resonant quality that really sends the tunes home! Titles include "Pai Joao", "Eu Vi Que Te Amo", "Mala Pesada", "Canto Pra La", "Sabia Que Voce Vinha", and "Nao Venha Me Tapear". CD
A different sort of record from late 60s Brazil – straighter pop, with a bit of jovem guarda instrumentation – but done with the Latin market in mind too, as all the lyrics here are in Spanish! Elizabeth is a pretty compelling singer – working with just the right hint of echo next to the organ and strings used in the backgrounds – and unlike some of her contemporaries, she's also a surprisingly strong songwriter – as most of the tunes on the record are by the lady herself! Titles include "Soy Loca Por Ti", "Tristeza Infinita", "El Amor Que No Es Para Mi", "No Hay Luna Ni Cielo Lindo", "Me Gusta Mismo Demas", and "Yo Estoy Amando". CD features the bonus track "Kiko". CD
Lygia ... CD RGE/Discobertas (Brazil), 1964. New Copy ...
A dark-tinged set of vocal work from the lovely Lygia – a singer we only know from this rare 60s set for RGE – filled with great arrangements from maestros Gaya and Pocho, as well as bossa jazzers Manfredo Fest and The Zimbo Trio! The album's got a fuller, richer quality than many bossa vocal sets from the time – some of the moodier qualities of Brazilian female vocals from the previous decade, but served up without too much drama or overdone emotion. Lygia's sense of sadness is nicely offset by the lighter touches in some of the backings – a floating flute line, a tinkling piano, and occasional snapping snare to bring in a bit of warmth – and titles include "Quem Ri Melhor", "Historia De Uma Crianca", "Tempo De Sorrir", "So Por Amor", "Joao Ninguem", and "Encontro Com A Saudade". CD
Very early work from Maysa – an album recorded in 1957, before her better-known bossa sides of the 60s – and a set that shows the singer in the kind of full-voiced style that first made her a legend! Masya's got a great talent for subtle drama here – a kind of deep burning vibe that really fits her look on the cover image – almost like she's defiantly holding back her emotions, and infusing the lyrics of the tunes with this subtle sense of sadness and loss. The backings are light – fuller orchestrations, but never overdone – and titles include "Franqueza", "O Que", "To The End Of The Earth", "Se Todos Fossem Iguais A Voce", and "Ouca". CD
An unusual album from 60s Brazilian singer Miltinho – one that features vocals in Spanish, not Portuguese – issued by the Sonus label in a pressing that was one of the few by the singer to ever get distribution up in the US! The backings are maybe more 60s Latin than Brazil, too – Afro-Cuban styles of percussion, and often some trumpets in the lead – shimmering and sparkling next to the deep, rich tones of Miltinho's vocals – on titles tha tinclude "Olvidame", "En Carne Propia", "Tu", "Veinte Anos", "El Diablo Y Yo", "Remordimiento", and "Amor Sin Bendicion". CD
An unusual album from Brazilian singer Miltinho – one of his few 60s efforts recorded in Spanish, and issued by the Sonus label in the Dominican Republic! Backings are more Latin-styled overall – handled by Pocho Perez with a nice mix of percussion and brass, which underscores the subtle drama in Miltinho's well-crafted vocals! The overall approach is quite different than most mainstream Brazilian work of the time – and titles include "Ninguem", "Teno Un Rinconcito", "Mi Mundo Cayo", "Dos Palabras", "Mujer De Musica", "Esta Noche", and "Despues De Ti". CD
A rare Mexican album from this very cool Brazilian group of the 60s – one of the sharpest guitar-based combos of the pre-Tropicalia years, stepping out in a guitar-heavy blend of vocal and instrumental tunes! The instrumentals are maybe the best – as they've got lots of really fantastic interplay and fresh techniques on the strings – often recorded with a bit of echo that really expands the electric sound – and occasionally given a nice kick by a tenor sax solo, or some weird use of effects! Titles include "Peter Gunn", "Veneno", "Cabalgata", "Macaca Foo", "Tierra Maravilloda", "Es Inutil", "El La Cuidad", and "Oleducto". CD
Warmly soulful samba from Djalma Pires – a singer who's got a nice way of sliding into the groove, and a style that's maybe a bit gentler than some of his contemporaries – but in a way that still really fits the setting! Backings are in the best mode of the RGE label at the time – nicely bouncing, raw at the core, and never too overdone – which makes for a very personal vibe to the whole thing, and a completely performance from Djalma! Titles include "A Fonte Secou", "Obsessao", "Viva Meu Samba", "Que Rei Sou Eu", "Balanca Zona Sul", "O Orvalho VEm Caindo", and "Exaltacao A Mangueira". CD
A wild little record from this groovy Brazilian group of the 60s – a set that's part Christmas, but which also has an appeal that works for every month of the year – as The Pops bring together surf-styled guitar with organ lines and jaunty rhythms – which makes the whole thing almost feel like a garage album of Holiday hits! The songs are all instrumental, and follow the style of the other great Pops records on Equipe – not quite jovem guarda, but also not entirely Anglo garage instrumentals either. You'll recognize most of the tunes, but they're done in a very nice way – and titles include "Boas Festas", "Noite Feliz", "O Tannenbaum", "Sleigh Ride", "Jingle Bells", "Natal Das Criancas", and "O Bom Velhino". CD
The Pops are playing in the nude on the cover, with hair that's hit the hippie norm for 1969 – but the group are still very strongly in their best guitar instrumental mode of the mid 60s – very much a Brazilian answer to some of the surf giants of the American scene during the early 60s! Electric guitar is in the lead on every instrumental track, with swirling organ lines right behind – and the rhythms are tight and lively, but also loose enough to follow the best spirit of the nicely varied songs chosen for the set – which include Brazilian numbers "O Forasteiro", "Branca", "Despertar Da Montanha", "Sons De Carrilhoes", and "Esfinge" – plus a few medley numbers of other tunes too. CD
Fantastic later work from one of the coolest Brazilian groups of the 60s – the Quarteto Em Cy, a key female counterpart to some of the male harmony groups who arose during the bossa nova generation! Unlike some of those groups, though, Quarteto Em Cy kept going very strongly for decades to come – really united in this warm sense of interplay that really comes through in their vocals – even though one of the original members has left the quartet by the time of these recordings. The passage of time never seems to shake up their style at all – partly because the quartet have such a honest, unadorned approach – one that really adapts to different periods, and different material. The set adds some great unreleased recordings to their too-small 80s catalog – and features concerts recorded in Tokyo, Rio, Niteroi, and Fortaleza between 1983 and 1989. CD
Beautiful ballads in an old school Brazilian mode – not the lighter styles of the bossa nova generation, but the richer sounds of the scene before – although maybe done with the same sort of saudade as some of the Brazilian singers to emerge in the 60s! Rosana Toledo's style here ties maybe more closely to larger South and Central American styles of the period – but the arrangements still show that special sort of sophistication that always made Brazilian music so great in the postwar years – handled by Pocho Perez, and nicely understated throughout. Titles include "Alem Do Amor", "Francamente", "Tudo De Mim", "Distancia", "Raizes", "Saber Mentir", and "Perdendo O Seu Amor". CD
Rosana Toledo's got some mighty hefty hair on the front cover – but the album is much less stiff and formal – as the singer really taps into her emotive depths throughout – showing us that although life goes on, as promised by the title, it's not without its melancholy moments! Arrangements are relatively full, with light percussion underneath larger orchestrations – all handled by Maestro Nelsinho, on titles that include "Nao Me Diga Adeus", "Salve Ogum", "E A Vida Continua", "Porque Fui Te Encontrar", "Desolacao", "Pra Que Mentir", and "Feitio De Oracao". CD
A really cool collection of 60s rockers from Brazil – music that was part of the jovem guarda generation, right before the Tropicalia years – but served up here in a package that's a bit groovier than most from the time! Unlike some of the bigger-label material from the jovem guarda years, which was usually more mainstream pop – this set's got a bit more of an edge, and maybe a kind of indie-styled vibe – almost garagey at times, and handled by producer Joao Negrao, who brought together all the different artists in the studio for recordings. The guitars are recorded especially well – and titles include "Nenem" by The Sunshines, "Minha Mae" by Sergio Murilo, "Essa Gatinha E Minha" by Brazilian Bitles, "Quinze Anos" by Maritza Fabiani, "Amanhecer" by Os Inocentes, "Menino" by Jerry Adriani, "Voa Passarinho" by Golden Boys, and "Procurando Uma Flor" by The Fevers. CD
Brasa 4 ... CD Bemol/Discobertas (Brazil), 1968. New Copy ...
A cool collection of late 60s rock and pop from Brazil – and a set that stands as a nice contrast to some of the "song festival" albums from the time on Philips and Odeon! Like those sets, this one presents up-and-coming artists working through a variety of material – but rather than showcasing new styles, the modes here are maybe more in the jovem guarda style of the mid 60s – a bit more slavishly tied to American and European styles, although a few of the tunes here are of Brazilian origin too. There's a bit more complexity and sophistication to the music than the chart pop of a few years before – kind of in the way that west coast pop rock acts were letting their hair down a bit by the late 60s – and titles include "Como E Grande O Meu Amor Por Voce" by Os Intrusus, "O Que Ha De Mal Em Mim" by Bitons, "You Only Live Twice" by Os Agitadores, "When Summer Is Gone" by Analfabitles, "Voce Nao Serve Pra Mim" by Amir Francisco, and "Travessia" by Edinho. CD
One of the coolest albums ever from this hip Brazilian organist – a set that just features a small combo behind his lead work on the keys – in a mode that ties the album more strongly to the world of samba and bossa jazz than any of his other records of the decade! There's still lots of creative constructions on the keys, but they usually swing a bit more strongly too – given nice support by bass, guitar, and drums – on tunes that include early compositions by Marcos Valle, Hermeto Pascoal, and Edu Lobo! Titles include "Asteroide", "Deus Brasileiro", "Arrastao", "Sete Contos", "Menino Das Laranjas", "Meu Pajeu", "Vai Joao", and "Cancao Do Amor Que Foi". CD
Spectacular organ from Celio Balona – a Brazilian keyboardist from the 60s, but one who's maybe a bit different than some of his contemporaries – as the range of tones and other sonic elements is nicely mixed up to really fit the spirit of the tunes – which include early numbers by Caetano Veloso, Milton Nascimento, and Chico Buarque – and not just the usual pop instrumental songs you'd hear on other records like this! Most of the backing seems to be from a small combo with nicely snapping drums – and Balona's command of his instrument is great, and includes plenty of basslines from the bottom that really make the best tunes groove – in a lineup that includes "Vesti Azul", "Carolina", "Alegria Alegria", "Manifesto", "Travessia", "Maria Carnaval E Cinzas", and "Meu Grito". CD
Sweetly easygoing instrumentals from pianist Helio Mendes – half dreamy and hypnotic, and half groovy and bossa! Much of it has a driving feel that reminds us bit of Ed Lincoln's albums around the same time – most of the instrumentation on these numbers is brassy and loud, with trumpets, guitar, and voices coming into the mix – but even the more laidback tunes here have a mesmerizing feel. Titles include great versions of "Arrastao", "Atire A Primeira Pedra", "Nana", "Garota Moderna", "Trem Das Onzes", "Preciso Aprender A Ser So", "Se Piangi De Ridi" and more. 12 tracks in all. CD
Great small combo work from Brazilian pianist Helio Mendes – working here in a set that's maybe even jazzier than usual, thanks to some strong trumpet lines next to the piano – and some lively rhythms that seem inspired by some of the cooler trios of the bossa scene! The tunes are a mix of Brazilian originals and global pop sources – but all done with a lively approach that owes plenty to samba jazz and bossa nova, but which also has a wider sonic palette too – those special qualities that often make a Brazilian album like this a real treasure trove of surprises. Titles include "La Barca", "Deixa De Banca", "Canto De Ossanha", "Tristeza", "Yesterday", "Estamos Ai", "The More I See You", and "Aos Pes Da Santa Cruz". CD
That's Pap, not pop – Brazilian trumpeter Papudinho, who blows his horn over some very groovy arrangements in this rare set from the start of the 70s! The vibe here is a lot like the best Odeon sessions of the Blue Brazil generation – a tight mix of jazz, samba, and soul – all instrumental, and with a combo that has some really great organ, tenor, and guitar over quick-moving rhythms – which creates a beautifully playful vibe that transforms any tunes that the group gets their hands on! Titles include "Som Tropical", "Que Mara Vilha", "Hare Krishna", "Custe O Que Custar", "Looky Looky", "Aquarius", "You've Got Your Troubles", and "Pais Tropical". CD
The lovely Claudia has never sounded groovier – and even though this obscure little set was only issued for the Japanese market – it's got all the best mix of bossa nova elements as her other 60s albums from Brazil! The backings are great – and start to pick up some of that bouncy, groovy style that the Odeon label was using at the time – bits of electric bass, soul-styled backings, and superb production that has the vocals really soaring out front in a perfect match to the music! The whole thing's got a completely sublime feel that we totally love – and titles include "Lullaby Of Itsuki", "Carolina", "Agua De Beber", "Un Homme Et Une Femme", "Corcovado", "Garota De Ipanema", and "Mas Que Nada". CD
The flavor of youth in mid-60s Brazil – served up by keyboardist Helio Mendes, who also plays a bit of organ on the set! As with Mendes' other great albums of the time, the rhythms often have a slight samba current, and mix together acoustic and electric modes – in the best Brazilian instrumental quality of the time. Tunes are a nice mix of familiar 60s pop numbers and groovier Brazilian songs – and the set includes an especially great take on "Ponteio", which has all the right soaring lines to make the tune come off well – plus vocals that come as a bit of a surprise, recorded with a cool echoey style! Other tracks include "Music To Watch Girls By", "Rosanna", "Triste Madrugada", "Something Stupid", "This Is My Song", "Esta Chegando A Hora", and "O Caderinho". CD also features four bonus tracks – "Despedida De Mangueira", "Se Voce Pensa", "Um Beijo Ao Regressar", and "Deixe Me Outro Dia Menos Hoje". CD
Samba 35mm ... CD Pawal/Discobertas (Brazil), 1962. New Copy ...
Out Of Stock
This may be the only album we've ever seen from Sandra – a really well-crafted set from early 60s Brazil – one that mixes samba rhythms and jazzier instrumentation, all in a great accompaniment to the singer's fantastic voice! Sandra's got the depth of some of the female Brazilian vocalists of the pre-bossa years, but never falls into their heavier styles – which means that she keeps up a really great range as the album moves along at a nice little clip – balancing her strong lead with all these great twists and turns in the instrumentation. There's no arranger given credit – but whoever he is, he's one groovy cat – as you'll hear on titles that include "Tao Bom", "Caminhando", "Doi Doi Doi", "Sem Bossa", "Nuvem", "O Maioral", "Luluzinha Bossa Nova", and "Era Bom". CD
Breno Sauer Quinteto —
Sambabesso ... CD RGE/Discobertas (Brazil), 1963. New Copy ...
Out Of Stock
The great Breno Sauer always has a great ear for blending samba rhythms and jazz – and here, he really lets that talent explode in a fantastic array of colors and tone! The instrumentation is great – Breno's vibes in the lead, with guitar, accordion, bass, and drums – the last of which are worth the price of admission themselves, as they often crackle with lots of complicated changes in the rhythms to keep up with the samba groove – while the vibes, guitar, and accordion deliver a warm palette of sounds over the the top! A standout instrumental classic from the RGE catalog of the 60s – with titles that include "Sambabessa", "Liberdade Demais", "Senhorita", "Luciana", "Amor E Paz", "Cancao Do Amor Mais Triste", "Samba Da Madrugada", and "Lembrancas". CD
A sweet 70s set from the amazing Zimbo Trio – a record that really has them stretching out with a much more complicated vibe than the bossa years – mixing in some elements of 70s Brazilian fusion, as they work with an expanded group that includes Hector Costita on sax, and Heraldo Do Monte on guitar! The sound is warm and open – never overindulgent, but stretching out in ways the core bossa trio could never do on their own – using the best rhythmic qualities of the sax and guitar to carve out some wonderful grooves! The album includes a very nice version of "Tudo Bem", a cover of Milton Nascimento's "Fe Cega Faca Amolada", and the cuts "Viola Violar" and "Laurecy Ate Ja". CD
A very cool set from the Brazilian scene of the 60s – one that combines an earlier male vocal mode with some of the organ-driven samba of the time – all with results that are pretty darn sweet! Carlinhos handles the Hammond – an instrument that soars out over lively percussion on most tracks, as Luiz Bandeira deftly moves through different lyrical melodies on medley tracks on the set – then delivers a few tunes of his own as well! Titles include "Ta Tudo Ai", "Despedida", "Ja Vou", "Ronda Das Sombras", "Ja Vou", and "Eu Nao Peco Outra Vez". CD
Conjunto Mafasoli —
Call Me ... CD Som Maior/Discobertas (Brazil), 1967. New Copy ...
Out Of Stock
There's a pair of groovy-looking kids on the cover – but the sound of the set comes from the hands of Carlinhos Mafasoli on the organ – spinning out these lean line lines that move along nicely with the mod rhythms of the tunes! The feel is maybe more mid 60s London in terms of the choice of songs and rhythms – but Mafasoli plays the organ with that lean, clean style that was used in the generation of Walter Wanderly and some of his contemporaries – that special Brazilian approach that always makes their organ records of the 60s so great. Titles include "Bus Stop", "Puppet On A String", "Penny Lane", "Call Me", "This Is My Song", "O Bilhetinho", "Never Never", and "There's A Kind Of Hush". CD
Waldecir Lima —
Revelacao ... CD RGE/Discobertas (Brazil), 1964. New Copy ...
Out Of Stock
Really moody vocals from Waldecir Lima – an artist with a sound that's a lot deeper and more resonant than most other Brazilian 60s singers who were pictured on the cover holding an acoustic guitar! The style here isn't the light mode of the bossa generation – which usually comes with a package like this – but instead a fuller, richer approach that's almost more resonant with older Cuban vocal modes than sounds from Rio – as Lima's voice is set up with light orchestrations, slow-stepping percussion, and some backup vocals. Titles include "Perfida", "Mulher Nao Muda", "Tudo Ou Nada", "Que Queres Tu De Mim", "Imitacao De Cristo", "Tres Palavras", and "Quantas Palavras". CD
A really great Brazilian instrumental combo from the pre-bossa years – but one who work with a light and lively sense that really points the way forward! There's an accordion player in the trio – next to a violinist and guitarist – but all three musicians move in styles that are very different than American modes of the period – really spare, with space between the notes, and a style that mixes samba rhythms with jazzy inflections, and opens up all three instruments in directions that are wonderfully fresh, and nice and lean overall! Titles include "Duas Contras", "O Relogio Da Vovo", "Tenderly", "Na Madrugada", "Malaguena", "Nos Tres", and "Ninguem Me Ama". CD features bonus tracks too – "Rio De Janeiro", "Inquietacao", "Risque", and "Na Baixa Do Sapateiro". CD
Brazilian keyboardist Ubirajara serves up some mighty cool sounds on the Solovox – an instrument that almost feels as if an electric organ has been tied to a theremin – in a way that creates some really otherworldly sounds! The settings are relatively conventional – familiar pop tunes, set up with Latin-styled rhythms – but the unusual keyboard sound is what really makes the whole thing wonderful – glowing out with these weird tones and strange phrasing that almost make you feel like someone's dropped in from outer space to sit in on a record of 60s instrumentals! Titles include "Blame It On The Bossa Nova", "Tudo De Mim", "Uno Per Tutte", "Afrikaan Beat", "Sonhar Contigo", and "El Relicario". CD
Djalma Dias —
Destaque ... CD RGE/Discobertas (Brazil), 1973. New Copy ...
Out Of Stock
Wicked samba from Djalma Dias – served up with a nice undercurrent of soul on a few tracks, too! Waltel Branco handles the arrangements, and gives the record a great little groove – one that's a mix of percussive samba elements and fuller backings at points – very lively overall, and not unlike some of the best EMI/Odeon projects during the Blue Brazil generation! In fact, the mix of core samba and larger sounds is a bit like Wilson Simonal at his best – as you'll hear on cuts that include "Saudades De La", "Cono De Casa Boa Noite", "Minha Serenata", "Desgruda", "Num Arredo O Pe", and "So Lagrimas". CD
Four rare slices of work from the lovely Nara Leao – unreleased live material from 1965 through 1985 – really showing the tremendous scope and development of her music! The first CD features a live concert from 1965 – definitely with some bossa elements in the mix, but also featuring a number of songs with Nara in that darker, moodier style that would showcase on her albums in coming years – where the acoustic guitar was used with much more force than more traditional bossa recordings. CD2 features a wonderful live set from 1972 – with a very hip small group that includes Paulo Moura on sax, Copinha on flute, and Dom Salvador on piano – a combo that brings lots of jazzy changes to Nara's music. CD3 has Nara with more traditional Brazilian instrumentation – working with support from Os Carioquinhas, who feature cavaqinho, bandolim, 7 string guitar, pandeiro, and other percussion. CD4 features Nara back to working mostly with acoustic guitar – a show from 1985, right at a time when Leao was going back to a bossa nova mode – which works especially well here on some longer medley tracks. Nara Leao has given us plenty of wonderful records over the years – but this overstuffed box set really adds a lot to her classic years! CD
A really heft collection of unreleased live recordings by this great Brazilian vocal group – one that almost seems to double their catalog of albums from the 70s! MPB4 got their start in the 60s, at a time when Brazil was really in love with harmony styles borrowed from American groups like The Hi-Los and Four Freshmen – and while many of the other Brazilian groups used the vocal modes in a bossa style, MPB4 were always able to take things one step further – often going for musical modes that brought a different sort of complexity to their harmonies, which only increased as the group moved into the 70s! You'll hear plenty of that here – as the live recordings mostly just feature their voices with a bit of light percussion and acoustic guitar – leaving plenty of space for their amazing vocal interplay right up front in the mix. The set features five full length concerts on CD – two recorded in Peru, one in 1973 and one in 1974 – plus sets recorded in 1975 and 1976. CD
A killer second album from Os 3 Morais – a record that already shows them expanding out to some of the more unusual, more complicated harmonies that would make their EMI/Odeon albums such classics! Although these guys started out as a simple pop group, this album already has them hitting the complex harmonic territory of contemporaries like Tamba Trio or Quarteto Em Cy – with the two male voices criss-crossing with the female voice in a mighty nice way – all set to arrangements from Sidney Morais and Laecio De Freitas, often with a nice mix of jazz and groovy elements! Titles include "Ate 2a Feira", "Um Amor De Brinquedo", "Januaria", "Travessia", "Carolina", "Margarida", "Com Acucar Com Afeto", and "Motivos". CD
Brazilian keyboardist Ubirajara plays an instrument few folks could ever make sound this groovy – the lean Solovox electric piano – whose fuzzy sounds soar out over some really great larger arrangements! Some songs are bold and brassy, others have a more exotic vibe – and Ubirajara shows us once again that he's the kind of keyboardist that deserves much wider international appreciation – an artist we'd put right up there with Korla Pandit, Earl Grant, or Walter Wanderley for his sense of tuneful experimentation. Titles include "Fica Mal Com Deus", "Perfida", "El Manisero", "Maria La O", "Frenesi", "Amor Scusami", and "Torna A Surriento". CD
Ubirajara & Seus Embaixadores De Copacabana —
Solovox De Ouro ... CD RGE/Discobertas (Brazil), 1963. New Copy ...
Out Of Stock
The Solovox is a mighty cool keyboard – kind of a smaller version of an electric organ, with a really otherworldly sound – and it gets a great showcase here in a hip album of 60s instrumentals from Brazil! Ubirajara plays the keys – which often have these flowing waves of sound – and arranger Waldemiro Lemke provides the larger backings, which are heavy on percussion and punches of horns – all providing a nice contrast to the electric flow upfront! As you'd guess from the title, many of the tunes are hits – but they're really transformed here into new versions, with a list that includes "El Suco Suco", "Stella By Starlight", "Moscow Nights", "Tender Is The Night", "Come September", "Caminito", "Quem E", and "Donde Estas Corazon". CD