This is series of seriously intoxicating Latin and American Bossa-Samba-Jazz sounds! It all began in the '50s when composer Antonio Carlos Jobim, inspired by West Coast Jazz, helped to form a new music that blended together gentle Brazilian Samba rhythms and melodies with cool-toned improvising. These compilations contain the results of Jobim's influential musical experiment, as they feature a myriad of artists serving up a cocktail blend of rare original Brazilian and American Bossa Nova and Jazz from the 60's. Each volume comes complete with a different sexy vixen on each of the covers…and we do mean SEXY! Includes 80 tracks featuring classic performances by Les McCann, Mongo Santamaria, Cal Tjader, The Champs, Lalo Schifrin, Nina Simone, Stan Getz, Art Blakey, Mel Torme, Peggy Lee, Dizzy Gillespie, Herbie Man, Kenny Burrell, Mose Allison, Candido, Xavier Cugat & His Orhcestra, Sergio Mendes & Brasil 66 and many more.
The sound and band that served Sergio Mendes well on Fool on the Hill remain intact on Crystal Illusions, with few modifications. Dave Grusin is right there with a lush, haunting orchestral chart when needed; Lani Hall is thrust further into the vocal spotlight, as cool and alluring as ever in Portuguese or English. Mendes remained on the lookout for fresh Brazilian tunes, and he came up with a coup, one of the earliest covers of a Milton Nascimento tune to reach North America, "Vera Cruz" (with Hall's English lyrics, it became "Empty Faces"), as well as Dori Caymmi's "Dois Dias."
A 1986 A&M album featuring a mix of Mendes' trademark Brazilian pop with vocals by Siedah Garrett and Joe Pizzulo, a traditional Brazilian styled tune "O Rio" (featuring the great Dori Caymmi on guitar and vocals), and a guest appearance by former Brasil '66 lead singer Lani Hall on "No Place To Hide".
Reissue with the latest 24bit remastering. Features original cover artwork. Comes with a descripton in Japanese. One of the greatest albums of Brazilian jazz that Bud Shank ever recorded — done with a style that's a lot more like some of the best bossa albums from Rio at the time! Bud's recorded in other bossa settings before — but there's something about this record that really gets the whole thing right — as Shank's alto and flute come into play with a killer combo that includes Clare Fischer on piano, Larry Bunker on vibes and drums, Joe Pass on guitar, and Milt Holland and Chuck Flores on percussion.
Hermeto Pascoal (born June 22, 1936) is a Brazilian composer and multi-instrumentalist. He was born in Lagoa da Canoa, Alagoas, Brazil. Pascoal is a greatly beloved musical figure in the history of Brazilian music, known for his abilities at orchestration and improvisation, as well as being a record producer and contributor to many other Brazilian and international albums.
Brasil was The Manhattan Transfer's tenth album.This album was a new foray for the group into Brazilian music. During the recording sessions they worked with many songwriters, including Ivan Lins, Milton Nascimento, Djavan, and Atlantic records Jazz recording artist Gilberto Gil. After the initial recording sessions, the songs were re-arranged and then fitted with English lyrics. This album won the Grammy Award for Best Pop Performance by a Duo or Group with Vocal.
Reissue with the latest 24bit remastering. Features original cover artwork. Comes with a descripton in Japanese. That's Brasil 65, not Brasil 66 – a distinction that marks a key early stage for the great Sergio Mendes – heard here on one of his first albums to mix together bossa jazz and vocals! The approach here is a bit more like vintage bossa dates from Brazil – or a bit like some of the Verve bossa records too – as Sergio's core trio is at the heart of every tune, playing with a great jazzy approach – then augmented in different ways by alto and flute from Bud Shank, guitar from Rosinha De Valenca, and vocals from the lovely Wanda De Sah! Production is perfect – really in a classic Elenco Records mode – and titles include "Let Me", "Consolacao", "Tristeza Em Mim", "Muito A Vontade", "Reza", "Berimbau", and "Aquarius".
With its potpourri of native Brazilian genres and bits and pieces grabbed from elsewhere, all of it living happily together under one rhythmic roof, Farofa Carioca's Moro No Brasil, recorded in 1998 but unreleased in the United States until 2006, brings to mind the wild, progressive Brazilian tropicalia movement of the late '60s – not that it's a psychedelic sounds by any means, but rather that it bucks convention and goes wherever it wants to go without concern for categorization. Elements of hip-hop, funk (lots o' funk), Latin and rock clash with samba, reggae and whatever else seems to fit at the moment, and somehow it meshes seamlessly, a solid groove at every turn. The eight-piece band, formed in 1997, was led by singer/guitarist/songwriter Seu Jorge, who would later go on to a successful solo career as both musician/singer and actor (City of God and The Life Aquatic with Steve Zissou).