Obrigado, Brasil (Vol.8)

Bebeto - Preto Velho

Álbum "Memórias Luso Africanas" - Gui Amabis
http://soundcloud.com/amabis
Para Mulatu (M: Gui Amabis / L: Criolo)
ISRC: BR6G71100009
Criolo: Voz
Marcelo Cabral: Baixo acústico
Maurício Alves: Percussão
Gui Amabis: Programação, guitarra e teclado


Para Mulatu (Gui Amabis feat Criolo)

O cinzeiro dói
a fronha compadece
cada passo em falso
nesse sono mascado

O orixá em chamas
marca a minha pele
arde com seus olhos
seus olhos
negros
em água cedem. 

Virar Água

Black Alien - From Hell Do Ceu - Faixa 12

http://www.mrbongo.com/product/seu-jorge-carolina-1109

http://www.mrbongo.com/product/carolina-lp-1304

Debut album from the City Of God and Life Aquatic star Seu Jorge, co-produced by Mario Caldatto of Beastie Boys and Planet Hemp fame.

Seu Jorge - Mangueira

no mastering
bad mixing
enjoy


<a href="https://theartistunion.com/tracks/545af2?soundcloud_ref=description" rel="nofollow" target="_blank">Download for free on The Artist Union</a>

Galope (Salvador Araguaya Rough Edit)

Bebeto - A Beleza É Você Menina (1974)

Tempo dos Mestres

Baião (feat. Sam Gendel & Tiki Pasillas)

Maravilhas Contemporâneas

Paquistão

AMANHÃ JÁ ERA, #1 - EP 4²
Lyrics : Igor Ribeiro & Nicola Són - Music : Nicola Són
Arrangments : Márcio Arantes

Amanhã Já Era

... Amor É Isso

Termos e Condições (feat. Emicida)

Far Out Recordings proudly presents the 1975 self-titled debut album from Brazilian vocalist and bossa nova luminary Emilio Santiago. Nicknamed ‘the Nat King Cole of Brazil’, Santiago was a master bossa balladeer and a top-class crooner. But he is known equally for his Brazilian funk, soul and boogie classics. One of his best know is album opener ‘Bananeira’, a party-starting version of the song originally written by Joao Donato and Gilberto Gil. ‘Brother’ is a smooth-grooving killer with great horn arrangements and a huge backing choir, while ‘La Mulata’ is a soulful, swinging salsa stepper.

Originally released on the CID label, the album showcases the full range of Emilio’s talents, while paying homage to some of Brazil’s greatest composers, including Jorge Ben, Marcos and Sergio Valle and Ivan Lins among others. 

The credits on the album are a ‘who’s who’ of Brazil’s greats, with João Donato on keys, Wilson das Neves, Ivan ‘Mamão’ Conti and Paulinho on drums, Durval Ferreira, Carlos Roberto Rocha and Helio Delmiro on guitar, Ariovaldo, Orlandivo, and Chacal on percussion, Danilo Caymmi on flute, a brass section featuring Victor Assis Brasil, Edson Maciel and Jesse Sadoc, and backing vocals from Jaime and Nair, Lúcia Lins, Jurema and Marcio Lott.

Emilio Santiago - Bananeira

Marking sixty years of Bossa Nova, and twenty years since Marcos Valle’s first release for Far Out Recordings, what better time to bring back this era-defining classic from the Brazilian master composer? 

Throughout his astounding six-decade career, infiltrating pop, bossa nova, samba, delicate psychedelia, jazz and funk, Marcos Valle has consistently shown a dogged determination to transcend the traditions and structures of bossa nova, whilst never veering away from the movement’s inherent, fundamental spirit. To some extent, his epithet ‘the original Rio beach boy’ is a handy one: it reflects the origin and character of his often sun-soaked sound, but expounding his importance in the lineage of Brazilian music, he is more discerningly known as ‘the renaissance man of Brazilian pop’. He is indeed one the very greatest and most important composers, arrangers, writers and performers in Brazil. 

Up until Nova Bossa Nova, Marcos Valle hadn’t released an album for well over a decade. After 1983, he resented the way the music industry had changed with commercialisation and new demands curtailing his creative freedom. This was until 1994 when Marcos met Far Out boss Joe Davis and they recorded a track for Far Out’s first Friends From Rio album. This new collaborative partnership resulted in a new solo album, which commenced recording in 1996. 

Nova Bossa Nova brought Marcos bouncing back into the 90s, slotting nicely in place alongside the acid jazz movement as well as a voracious new demand for Brazilian music on dancefloors from London to Tokyo. It was witnessing the London club scene’s growing appetite for Brazilian music, as well as a lack of new sounds coming out of Brazil at the time, that a young Joe Davis put in a proposal to record a new album with one of his musical idols. Joe wanted to facilitate an album which would combine the latest technologies and production techniques, with live to analogue tape recording: a Marcos Valle album tailor-made for London’s clubs. Always open to modern influences and possibilities, Marcos agreed to the project, and Joe and his production partner Roc Hunter flew to Rio in ‘96. The record wasn’t released until ’98, as the original ½ inch tapes were stolen from Far Out’s London studio, meaning parts of the album had to be re-recorded. 

Nova Bossa Nova was unveiled at the peak of the of the Brazilian movement, the record would also prove to be something of a revolution, inspiring a new generation of artists like Bebel Gilberto, Sabrina Malheiros, Da Lata and Bossacucanova, who continued to fuse Brazilian influences with modern electronic sounds. 

The album takes a panoramic view of Valle’s career, which was so fundamental in defining the standard of bossa back in the Sixties and continues to do so to this day. Nova Bossa Nova, the album’s title track is an update on Marcos’s trademark style, developing a more modern, funkier sound. Other gems include the dance-floor ready re-work of his 1970 hit ‘Freio Aerodynamico’, and the smooth instrumentals ‘Bar Ingles’, a jazz fusion looper, and the sun-soaked samba ‘Nordeste’. 

Twenty years since the original release, the album remains a landmark release for Far Out Recordings and Brazilian music in general. It is yet another example of Marcos Valle’s ability to transcend musical limitations and explore new musical ground, as he has done so passionately for the last sixty years.

Marcos Valle - Nova Bossa Nova (New Bossa)

https://www.mrbongo.com/products/toquinho-vinyl-lp-cd

All-time classic Brazilian album, featuring Jorge Ben on 'Que Maravilha’, ‘Zana’ and 'Carolina Carol Bela’ as sampled by DJ Marky on ‘LK’.

Brazilian guitarist and singer Toquinho (real name Antônio Pecci Filho) was born in Sao Paulo, Brazil in the 1940’s. His first major hit single was ‘Que Maravilha’, as featured here, that he wrote with Jorge Ben. This album also features ‘Zana’ and the ultra-famous ‘Carolina Carol Bela’, also written with Ben.

Toquinho had a prolific career releasing a huge number of albums and writing on even more. He released many records with Vinicius De Moraes during the 70’s.

‘Carolina Carol Bela’ was sampled by DJ Marky on his drum n bass hit ‘LK’ – the track that launched the sound of Brazilian drum n bass outside of Brazil.

Official Mr Bongo reissue. Licensed from Som Livre.

Toquinho

Que Maravilha

One of Brazil’s most prolific artists, Eumir Deodato has participated in the creation of over 450 albums, racked up 16 platinum records, won a Grammy (and received two more nominations), and sold over 250 million records in the USA alone. Over the course of his career, he has written for, arranged music by and played with artists including Frank Sinatra, Tom Jobim, Kool & The Gang, Earth, Wind & Fire, Marcos Valle, Aretha Franklin and Bjork, among others.

At the height of Deodato’s productivity in the early 70s, Os Catedraticos 73 was recorded between Rio de Janeiro and New York, featuring a Brazilian rhythm section including Azymuth drummer Ivan ‘Mamão’ Conti, percussion master Orlandivo, and Sergio Barroso on bass, while the horn section features some of the big apple’s top players from the CTI in-house brass.

A firm favourite with rare-groove enthusiasts and fans of Latin jazz alike, Deodato melds the musical sensibility of post-bossa nova Brazilian jazz with North American soul & funk, and the explosive Latin influences of ‘70s New York. Os Catedraticos 73 certainly swings harder than some of Deodato’s earlier releases and opening track ‘Arranha Ceu’ (Skyscrapers) is a euphoric dance floor classic, which has been lighting up clubs for years.

With the blessing of Deodato himself, this official Far Out reissue has been remastered and pressed to 180g vinyl, with replica original artwork from the OG Equipe release.

Os Catedraticos 73

Vinyl / CD / Digi

Eumir Deodato - Arranha Ceu (Skyscrapers)

"O que é que a baiana tem?", composição de Dorival Caymmi, interpretada por Bazar Pamplona para a coletânea "Brasileiros".

Bazar Pamplona: http://www.youtube.com/watch?v=7oYV1Iva8fY

www.pulsanovamusica.com.br



Bazar Pamplona - O que é que a baiana tem ? (Dorival Caymmi)

https://www.mrbongo.com/products/mr-bongo-record-club-volume-three-vinyl-2-lp-cd

Volume Three in the Mr Bongo Record club series. Another showcase of recent vinyl finds and favourites from our DJ sets and radio shows. This is an extra special one however, as it lands in 2019, the year that we celebrate 30 years since it all began way back in 1989.

Compiled by David Buttle and Gareth Stephens, assisted by Graham Luckhurst and Gary Johnson.

Mr Bongo Record Club Volume Three

Longe Daqui Aqui Mesmo

The original Rio beach boy returns in style, with a new record of unabashedly feel-good Brazilian party music. Featuring Azymuth bassist Alex Malheiros (responsible for some of Brazil’s all-time funkiest low-end licks), a horn section including Valle’s go-to high-trumpeter Jesse Sadoc, and percussion master Armando Marcal, Sempre has all the masterful composition, exceptional musicality, and forward-thinking ideas you’d expect from the Brazilian titan, and it’s fresher than a fruity caipirinha in the Copacabana sunshine.

Updating Marcos Valle’s seminal boogie-era sound, Sempre spans ecstatic disco, cosmic samba, and late-night jazz-funk, drawing obvious comparisons to some of Valle’s late-seventies and early-eighties output. ‘Estrelar’ (1983), for example, an ode to the joy of exercise, has become one of the biggest Brazilian disco hits of all time. But lyrically the new album is more closely reminiscent of Valle’s progressive early seventies’ releases. Heralding love, tolerance and living in the present, while satirising political corruption, the new release recalls a time in which Valle, together with his brother Paulo Sergio, was writing subtly subversive lyrics in order to bypass the censorship imposed by the military dictatorship, which ruled over Brazil between 1964 and 1985.

The album marries compositional genius with pure pop perfection. From the blistering brass arrangements on up-tempo disco hit ‘Olha Quem ta Chegando’ and the infinitely classy ‘Vou Amanhã Saber’, to the nine-minute synth-heavy instrumental funk stepper ‘Odisséia’, which gradually morphs into an interplanetary samba jam, the songs are tightened and given an extra coat of gloss, by London based producer Daniel Maunick (son of Incognito frontman Bluey). More moments of boogie delight come in the form of ‘Minha Roma’ (a musical nod to the famed ‘Estrelar’), and the sunshine anthem title-track ‘Sempre’.

Translating as ‘Ever’, Sempre is a testament to the continual drive for development and reinvention that has defined Marcos Valle’s astounding six-decade career. Ever changing, ever moving forward, he began as one of the second-wave of early bossa nova composers in the sixties, writing the world famous bossa standard ‘Summer Samba (So Nice)’ for his sophomore album ‘Samba 68’. After a brief stint in the States, Valle returned to Brazil, and the early ’70s saw the release of four ground-breaking Valle albums which incorporated progressive rock, psychedelic influences, pop, jazz, soul and cinematic arrangements. These albums would see Valle work alongside a number of hugely influential Brazilian bands, including Milton Nascimento’s backing band Som Imaginaro, the prog-rock band O Terco and jazz funk legends Azymuth. Returning back to the US in ‘75, Valle resided in LA, writing music for the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, before returning to Brazil once more, where after releasing a handful of hit pop records, he took a hiatus from recording.

Since the mid-nineties, Marcos Valle has been experiencing a renaissance with Far Out, where his approach to music has remained, as always; decidedly open to new influences, possibilities and technologies. Sempre is Marcos Valle’s fifth album for the label, following 2010’s critically acclaimed Estatica.

Just in time for summer, Sempre is out on Vinyl LP, CD and digitally 28th June 2019

Marcos Valle - Sempre

On his debut album Travesseiro Feliz (Happy Pillow) Rio de Janeiro based dreamer and new Far Out Recordings signing Ricardo Richaid melds his tropical heritage with his love for psychedelic music, jazz and rock. He also takes inspiration from the many Brazilian greats – Caetano Veloso, Arthur Verocai, Ivan Lins, Joyce, Hermeto Pascoal, Marcos Valle and Azymuth (to name a few) – who he has worked with as an engineer, assistant and producer, in Rio’s former RCA studio, Cia dos Tecnicos.

As well as being heavily influenced by Brazil’s fabled Tropicalia movement, Richaid is the grandson of Brazilian actor, singer and Disney star Aurora Miranda (Carmen Miranda’s younger sister), so tropicalism is in his blood. Describing his sound as ‘Industrial Tropicalism’, Richaid’s music is undoubtedly a product of his environment. Just like Rio, it’s warm, hazy and beautiful. But reflecting the current mood of his homeland, there’s an ominous smog looming amongst its charm. Lamenting the political, economic and ecological crisis he sees engulfing Brazil, Richaid’s obscure, poetic lyrics touch on drugs, drones and darkness, emphasizing the importance of art to bring light in troubled times.

The unconventional time signatures and sunny jazz-folk meets post-punk aesthetic are adorned by Richaid’s studio smarts. Working day to day in Rio’s top studios, he developed a comprehensive knowledge of all aspects of the recording process. But seeking autonomy and total creative independence, Richaid went on an equipment finding mission in the USA. Upon returning, he set to work building his own studio in Rio’s Gavea district and began writing the tracks that would become Travesserio Feliz. Singlehandedly composing, producing and mixing everything himself, Richaid recalls the endless nights he spent working on the album, often sleeping on the studio floor.

Travisseiro Feliz features a host of notable names from across Rio’s music spectrum, including percussion sensation Marcos Suzano (Gilberto Gil), experimental pop artist Ana Frango Eletrico, and vocalist and multi-instrumentalist Jose Ibarra, who has been lauded for his recent performances as part of Milton Nascimento’s touring group. On interlude track ‘Formigas’ we also hear a few verses of Ricardo singing together with his 7-year-old daughter, Nina Richaid.

Living with his grandmother Aurora Miranda until the age of seventeen (who featured in Walt Disney’s Three Caballeros film, and happens to be the first human being to kiss Donald Duck… really!), young Ricardo would listen with intrigue to his father playing chromatic scales and bossa nova melodies on the saxophone; his mother’s Brazilian classical piano; or his punk rock brother slamming the drums. This eclectic musical upbringing led a teenage Ricardo to learning his trade as the bassist in a short-lived hard rock band, which disbanded when Ricardo began to dig deeper discovering the likes of Os Mutantes, King Crimson, Frank Zappa and especially the ‘Clube De Esquina’ sound pioneered by Milton Nascimento and Lo Borges. Since then, alongside engineering some of his musical heroes in Brazil, Richaid has played in bands like Mara Rúbia and nitú, from Rio’s underground experimental psych and jazz scenes.

Maracas Enterprise / Frio Da Manhã

Pelos Trópicos é nome do terceiro disco solo da cantora e compositora Andreia Dias. Em 2011, Andreia gravou um álbum de forma itinerante em 10 capitais Brasileiras, saindo do Rio de Janeiro seguindo para Belém e descendo até Salvador. 

Durante um ano, Andreia circulou cidades do Norte, Nordeste, Sul e Sudeste do Brasil e interagiu com bandas locais atuantes na cena pop das suas cidades. 

Foi uma viagem de intenso escambo cultural e traçado da nova cena pop contemporânea do nosso país. Uma iniciativa inédita e muito corajosa, gravada às próprias custas e com ajuda de coletivos e amigos espalhados pelo Brasil. 

Em cada cidade, Andreia foi recebida por uma banda ou por um coletivo cultural que a apresentou à cena musical local. As canções e parcerias surgiram durante a estadia de Andreia na cidade, períodos que variavam de uma semana até um mês. 

Todos os artistas envolvidos residem em suas cidades. 


01- Vai e volta 
João Pessoa-PB Cabruêra/Andreia Dias 
02- Brisa Tropicana (Hot) 
São Luis-MA Criolina /Andreia Dias 
03- Beijin na nuca 
Belém-PA Felipe Cordeiro /Andreia Dias 
04- Luva pele 
Recife-PE Zé Cafofinho/Andreia Dias 
05- Bandoleiro 
Fortaleza-CE Vitoriano/Andreia Dias 
06- Vida bela 
Maceió-AL Banda Eek/Andreia Dias 
07- Corpo e mente 
Rio de Janeiro-RJ Thalma de Freitas/Andreia Dias 
08- Feliz e mareado 
Belém-PA Andreia Dias/Léo Chermont/Arthur Kunz 
09- Xuxu Beleza 
Rio de Janeiro-RJ Do amor/Andreia Dias 
10- Aquilo 
Aracaju-SE The Baggios/Andreia Dias 
11- Terra do nunca 
Natal-RN Thalma&Gadelha/Andreia Dias 
12- Pelos trópicos 
Salvador-BA Baiana System/Andreia Dias


Produzido por Andreia Dias e Arthur Kunz 
Produção executiva por Flavio de Abreu - Scubidu Music 
Mixado em Belém no Studio do Kunz por Arthur Kunz 
Masterizado em S.P No Estúdio Banzai por Leonardo Nakabayashi 

Criação e produção de arte da capa: 
Mônica Rodrigues / Mozart Fernandes 

Assistente de Arte: 
Daniel de Souza 

Foto Cartaz Interno: 
Pablo de Sousa 

Agenciamento: 
Scubidu Music

Obrigado, Brasil (Vol.8)

Bleu comme une orange