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José Roberto Bertrami from Azymuth (and Tatuí, a small city in the Brazilian state of São Paulo) — not to mention his work for Elis Regina, George Duke, Sarah Vaughn, Jorge Ben, Eddie Palmieri, Milton Nascimento, Flora Purim, and Erasmo Carlos, among countless others — playing piano alongside his bro Claudio on double bass, a horn section, and an organist. With compositions by Antonio Carlos Jobim, Roberto Menescal, Carlos Lyra, Durval Ferreira, and Adilson Godoy, the album also features Bertrami’s own A Bossa Do Zé Roberto, mesmerising bossa jazz which ensconces him amongst the bossa greats, even at the age of nineteen.
Legendary, occult musical reverie about the I Ching, psychedelically loaded with fuzz guitars, dirty percussion, Echoplex delay, and Ingmar Bergman, concocted by Italian artist Roberto Campadello and Brazilian guitarist Luis Carlini, leader of Rita Lee’s band Tutti Frutti. Originally released as a 10” in 1975, boxed with a game, candles and a magic mirror; now remastered from the original tapes, adding two tracks from a cassette-only release on the side. With a 24-page booklet containing rare graphics, photos, press clippings and Campadello’s artworks, besides extensive notes (including information about the celebrated Persona Bar which Campadello and Carmen Flores ran in the late 70s in São Paulo’s Bixiga neighbourhood); and the LP with the iconic cover as a poster.
The dramatic, rough-hewn, brilliant debut recordings of the Quintet from 1961. Two original LPs — the first mostly AP arrangements, the second mostly his compositions, including Adios Nonino, on his dad’s death.
Aka baile funk.
From 1971, A Guitar in the Foreground is Rosinha’s best record. Classic, chilled Bossa shot through with her scintillating guitar-playing.
Check this version of Summertime for her instrumental virtuosity. (Tyler, the Creator burglarised it for Tomorrow, on Chromakopia.)
Her classic, debut album from 2005; now out on vinyl for the first time.
A precociously masterful collection of sambas and bossas, featuring some of Brazil’s very best musicians, including Azymuth crew.
The great Argentinean bandoneon player in his first purely solo recording for more than thirty years.
‘A powerful reminder of Dino’s gifts as a musical storyteller of great subtlety. His pieces in this intimate recording reach back to early memories: Don Caye, subtitled Variations on the work of Cayetano Saluzzi, is a most touching dedication to his father. Throughout, the bandoneonist reflects upon the fleeting passage of time.’
Wonderful music, warmly recommended.
‘Recorded in February and March of 1963, reuniting Stan Getz with Brazilian musicians Luiz Bonfá and Maria Toledo for a lyrically focused follow-up to the landmark Jazz Samba of 1962.
‘Rather than reprising the earlier landmark album’s airy, guitar-driven bossa nova formula, Encore offers a more intimate, reflective setting shaped by Bonfá’s darker harmonic language and Toledo’s distinctive vocal and percussive presence. Getz’s tenor saxophone — warm, unhurried, and effortlessly melodic — threads through this atmosphere with a depth characteristic of his early-1960s work.
‘The program blends Bonfá’s original compositions with pieces by Antônio Carlos Jobim, including Só Danço Samba and Insensatez, highlighting the evolving transnational dialogue between Brazilian songcraft and American jazz phrasing. Bonfá’s nylon-string guitar provides the album’s tonal anchor, its rhythmic clarity and harmonic subtlety opening space for Getz’s lyrical phrasing. Toledo contributes both vocals and percussion, lending the session a textural and emotional range distinct from other Getz bossa nova collaborations.
‘The result is a quieter, more introspective album than its predecessor — one that underscores Getz’s ability to adapt his voice to a variety of Brazilian idioms without dominating them. Jobim appears on several tracks, further grounding the session in the core creators of the bossa nova repertoire.’
