Originally released in 1979 — ‘a product of my hybrid musical influences that joins together flavours of marchinhas de carnaval, frevo, toada, classical, baião, mpb and jazz,’ says Antonio.
The opener Cascavel is a gold-plated London jazz-dance classic; and the last-ever record spun at Plastic People.

The genre-slaying, polyharmonic, polyrhythmic ‘universal music’ of Hermeto Pascoal and his bassist Itibere Zwarg, performed in 2001 by a workshop comprising twenty-nine of Rio de Janeiro’s most exceptional young musicians.
An overlooked masterpiece amongst recent Brazilian recordings: invigorating and marvellous; warmly recommended.

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.

A year after Os Tatuís, José Bertrami returned to the studio, this time stripping back to a trio. Again featuring Claudio Henrique Bertrami on double bass, and with Jovito Coluna on drums, the José Roberto Trio recorded their one and only album in 1966, featuring compositions by Baden Powell, Manfredo Fest, and Marcos Valle. The LP also featured three of Betrami’s own compositions: the wistful Lilos Watts, the groovy Kebar, and the dazzling Talhuama.
Another jewel from the golden age of the Brazilian bossa jazz trio — Bossa Três, Milton Banana Trio, Tenório Jr,,  Bertrami’s own Bossa Jazz Trio — ushered in by the Tamba Trio, and nourished along the way by jazz greats from Nat King Cole to Bill Evans,

The dazzling 1970 debut of this Argentinian guitarist, featuring several of his own mystically beautiful bossa and samba jazz compositions, besides sensational versions of songs by Baden Powell, Vinicius De Moraes, and A.C. Jobim.

The first-ever vinyl reissue of this ravishingly beautiful private press album from 1988; Agustín’s most sought-after LP.
‘By now, Agustín had established himself as one of Argentina’s foremost interpreters of Brazilian music. The seventies brought success with his group Candeias, and recognition in Brazil, where he formed friendships and collaborations with luminaries such as Vinicius de Moraes, Baden Powell, Dorival Caymmi, Toquinho, and Maria Bethania. Following the era of dictatorship in South America, Agustín spent the late seventies and early eighties living and touring in Norway, during European travels with his quartet.
‘Recorded after returning to his native Buenos Aires — and featuring a team of crack Argentinian musicians, including drummer Osvaldo Avena, flautist Rubén Izarrualde, and saxophonist Bernardo Baraj — Puertos de Alternativa emerged from this confluence of diverse experiences, contexts, and influences. It begins rooted deeply in South American soil, drawing clear inspiration from Brazilian guitar masters like Heitor Villa Lobos, Garoto, and Baden Powell. But a sense of journey unfolds, evoking new landscapes and horizons — from the crystalline beauty of glacial Norway to the gentle currents of the Rio de la Plata.’

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.