Brazilian Album Reviews

This is the first page of miscellaneous albums and artists under the letter "B"
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Lamartine Babo "Carnaval De Lamartine Babo" (Sinter, 1955)


Lamartine Babo/Various Artists "O Carnaval De Lamartine Babo" (Revivendo)



Baby Do Brasil/Baby Consuelo - see artist discography


Bacamarte "Depois Do Fim" (Som-Arte, 1983) (LP)
A legendary Brazilian prog album, mainly a showcase for guitarist Mario Neto, who wrote or co-wrote all but two of the songs, and also an intriguing change of pace for vocalist Jane Duboc, better known for her work in the world of jazz ballads. There are lyrical, pastoral passages (particularly those featuring flautist Marcus Moura) but also a lot of searching, note-heavy guitar work, reminiscent of guitar heroes such as Jeff Beck and Yngwie Malmsteen. This is really not my kind of music, but I will take the word of the many prog fans who've flocked to this record: good for the genre.


Carol Bach-y-Rita "What Love Is" (Aruglua Records, 2009)
(Produced by Robert Kyle)

Californian vocalist Carol Bach-y-Rita sails through a swank set of jazz'n'bossa, delving into an intriguing repertoire that largely strays away from the big bossa classics... There's only one Tom Jobim standard, for one thing ("Corcovado," as fine a choice as any...) alongside material by Moacyr Santos, Gilberto Gil and Kleber Jorge, as well as an oldie by King Pleasure, a translated version of "You Don't Know What Love Is," and a delightful voice/flute duet on "Cidade Lagoa," which for me is an album highlight. She sings in both English and Portuguese; I prefer the Portuguese-language tracks, but it's all nice. Producer and tenor saxophonist Robert Kyle leads a small ensemble that provides concise, sympathetic backing...if you like artists such as Elaine Elias, Diana Krall, et. al., you'll probably enjoy this as well. Nice, classy stuff for the "smooth jazz" crowd.


Tutti Bae "Mosaico" (Trama, 2003)


Tutti Bae "Sensatez" (Dabliu, 2007)


Tutti Bae "Ginga" (2010)


Lourenco Baeta "Lourenco Baeta" (Continental, 1979) (LP)
(Produced by Cesare Benvenuti; Musical director: Dori Caymmi)

An admirably diverse album, with all-original material and a host of top-level MPB studio musicians playing on various tracks... The first couple of tracks are fairly unadorned acoustic folk-ish material, with a vocal chorus coming up behind Baeta and his guitar... Then, a few tracks in, a subtle forro accordion sneaks in, and by the end of Side One, a full-on, swank, jazz-tinged MPB arrangements kick in, reminiscent of Chico Buarque or Ivan Lins. You figure, oh this is where he's been headed all along, flip the album and get ready for more. The squeaky, Appalachian-style bluegrass breakdown that opens "A Ultima Diligencia" comes as a surprise, although the song soon settles into a mellow MPB vibe -- Side Two ends sedately, returning partly to the folkie beginning with "Feito Misterio," but now he's sounding all far-flung and cosmic, like the older Milton Nascimento albums. If you like classic 1970s MPB, you'll definitely want to check this record out!


Paulo Bagunca "...E A Tropa Maldita" (Continental, 1974) (LP)
(Produced by Ramalho Neto & Julio Nagib)

This spacey, kooky hippie-era relic features a lot of strident, frantic acoustic guitar strumming, a bit of loopy Moog and earnest, half-shouted vocals. Yeah, it's kind of cool in a crate-digging, folk-freak, obscuro way, but other than the archeological value, I didn't get much out of this one. The liner notes claim that the band, A Tropa Maldita, had a big influence on 1970's Brazilian rock, and I guess that might be true, but a lot of this sounds similar to what Jorge Ben and Gilberto Gil were doing -- with much more panache -- around the same time. This is just too loosely structured and meandering for my tastes, although it is a fairly groovy artifact from the fringes of Brazilian rock. Worth checking out, but it might not stick to your ribs.


Bahia Black "Ritual Beating System" (Island/Axiom, 1992)
An ambitious and stunningly realized album, bringing together the percussive talents of the Olodum collective, Carlinhos Brown and several North American jazz and funk artists such as Herbie Hancock, Bernie Worrell, Wayne Shorter, and Henry Threadgill. This marks one of the high points of Bill Laswell's career as a multi-directional producer, creating a blend of funk, jazz, avant-jazz, art-rock and Afro-Brazilian pop that is actually more successful than most Brazilian fusion projects. Challenging, but also highly listenable.


Baiano & Os Novos Caetanos "Baiano & Os Novos Caetanos, v.1" (CID, 1974) (LP)
This "band" -- really a front for comedic actor and part-time pop singer Arnaud Rodrigues -- was a satirical send-up of the psychedelic strivings of the Brazilian "tropicalia" scene, specifically of artists such as Os Mutantes, Os Novos Baianos and Caetano Veloso. In some ways it's funny, but it's hardly very subtle. It might be hard to get the joke, decades later and outside of hippie-era Brazil, but it still holds some historical and kitsch value. Personally, I prefer Rodrigues' more serious pop efforts recorded under his own name.


Baiano & Os Novos Caetanos "Baiano & Os Novos Caetanos, v.2" (1975) (LP)


Baiano & Os Novos Caetanos "A Volta" (1982) (LP)


Balanco Trio "Ritmo... Bossa... Balanco" (Imperial, 1965) (LP)
(Produced by Milton Miranda & Zoltan Merky)

A nice, light, piano-led bossa-jazz trio going through some bossa and samba standards, including songs by Edu Lobo, Carlos Lyra and Roberto Menescal, and others. There's thankfully little of the clattersome, frenetic pace of the "bossa trios" of the era, but also not a lot of spark or vitality to the performances. In some parts, there's an almost Vince Guaraldi-style cool jazz vibe, but these guys never swing that smoothly or soulfully. This isn't bad, it just isn't very distinctive or fresh. None of the artists are identified on the jacket: anyone know who they were?


Balanco Trio "Casa De Bamba" (Imperial, 1969) (LP)
Not much change in the approach here, although the repertoire has been updated to include a bunch of Jorge Ben songs, and one by Osvaldo Nunes... But despite the nods towards the ultra-hip, late-'60s samba-soul sound, this is pretty much the same light, mellow piano-bass-drums stuff as before. A little more elegance and panache, but basically more of the same, and considering the changes in Brazilian pop around this time, a little old-fashioned. Still no info on the artists, though... sorry!!


Norberto Baldauf "Ritmos Da Madrugada" (Odeon, 1955) (LP)
Another whiff of what the nightclub scene must have been like back in the '50s, this time with a slight regional flair. Baldauf leads a compact ensemble with a repertoire that's mostly old-school samba-cancao, but with a baiao-flavored accordion often taking the lead. More in the background is a lively percussionist playing some solid samba rhythms with great vigor, matched by some flashy, galloping piano... The first half of this short LP is a 12-minute "potpourri" medley; the other four tracks are of more standard length, and tend towards a more manic, uptempo feel. A little too hyper at times, but nice anyway.


Norberto Baldauf "Parole Ate 2nd Feira" (Philips, 1968) (LP)
A pseudo-groovy set of vintage Brazilian lounge music... Poppy, swinging, super-kitschy samba-nova-ish dance music, with a then-modern feel. This is easy listening, but with the prefab hipness of the Mancini era, with covers of various MPB hits, a Roberto Carlos song, and a toot-tootling, super-loungey rendition of the Beatles' "A Little Help From My Friends." It ain't great art, but it's an interesting contrast to Baldauf's early work. Includes some vocals as well... worth a spin!


Norberto Baldauf "Noite Do Lembra" (Continental, 1983) (LP)



Zeca Baleiro - see artist profile



Milton Banana - see artist profile



Banda Beijo - see artist profile


Banda Bel "O Rei Do Rio" (Tinitus, 1992)
(Produced by Antoine Midani)

The first of two albums by this short-lived band. This is early work by the artist called Leleo (aka the group's lead guitarist Leonardo Teixeira, who is joined by bassist Cacau Ferrari, lead singer Toni Garrido, and drummer Ricardo Imperatore.


Banda Bel "Sambadrome" (Tinitus, 1994)
(Produced by Antoine Midani)

The second (and final) album by this pop-reggae band, kicking off with their chart-topping hit, "Romario," which was dedicated to a popular futbol star named, um, Romario. Lead guitarist Laleo went on to his own solo career, releasing a few albums of his own, as did lead singer Toni Garrido.



Banda Black Rio - see artist profile


A Banda Do Canecao "A Banda Do Canecao" (CID, 1967) (LP)
The clompy sounds of an authentic Brazilian beer blast... Recorded live at a nightclub/beer garden, this captures a performance by the brass band A Banda Do Canecao plowing through a series of medleys, mixing Brazilian tunes with North American and other Latin American standards. The audience cheerfully choruses along in an early version of the "barzinho" karaoke singalongs, while the band, sounding like a German oompah group with a samba drummer, barrels along. Honestly, though? The performance is poorly recorded and also pretty monotonous... although the Banda made several records and has a place in '60s samba history, I really can't recommended this album.



Banda Eva - see artist profile


Banda Mantiqueira "Aldeia" (Pau Brasil/Blue Jackel, 1996)
A smooth Braz-jazz album, heavy on the brass section. This all-instrumental album takes a few nods at choro legend, Pixinguinha, as well as towards the smooth bossa nova sounds of the early '60s... This all by way of a peppy Doc Severinsen style latter-day big band style. This was a little too smooth for me, but it's not overly glitzy by any means, and may be something you'd like, if you're looking for something in a mellow jazz mode.


Banda Mantiqueira "Bixiga" (Blue Jackel/Pau Brasil, 2002)
Pretty cool! Anyone intrigued by the mix of Brazilian and big band motifs on Banda Mantiqueira's 1996 album, Aldeia, will be delighted by this latter-day gafieira outing, in which the swanky jazz elements are punched up and perfected. This is the kind of dynamic cross-cultural mix that Stan Kenton and his peers were searching for in their mid-'50s explorations of Cuban and Latin-American melodies... pretty engaging and seldom overplayed, and less mellow than earlier Mantiqueira recordings. Nice lingering hints of the Dixieland-ish choro style of dimly-remembered Brazilian artists such as Sinho and Pixinguinga. Includes radically reimagined arrangements of songs by Joao Bosco and old-school sambista, Cartola. Definitely worth checking out!


Banda Mantiqueira "Terra Amantiquira" (Maritaca, 2006)



Banda Mel - see artist profile


Banda Turmalina "Apelo A Igualidade" (Continental, 1988)
A fairly unremarkable pop-axe album, heavy on the New Wave-ish synthesizers, light on the percussion. The title track, which opens this album, is the most vigorous thing on here, sort of in the same general range as Olodum's softer, poppier recordings... The Afro-Brazilian drumming is almost enough to pull you in, but not quite. Guitarist Marcello Chamuska wrote about half the songs on here, while second guitar Joao Neto and lead singer Bino wrote several others. Trust me: this is pretty dorky, and you're not missing much.


O Bando "O Bando" (Polydor, 1969) (LP)
(Produced by Rogerio Duprat)

A welcome reissue of a lively "lost-classic" psychedelic rock album from Brazil's "tropicalia" era of the late-1960s/early-'70s... O Bando were a Sao Paulo band that nakedly emulated the better-known Os Mutantes, mixing clattersome pop-psychedelic rock with jazz, folk and indigenous Brazilian styles, then pushing their performances to furious crescendos. The likeness to Os Mutantes was hardly coincidental: tropicalia's avant-pop producer Rogerio Duprat helmed this project, and brought to it the same basic formula as he had used on the Mutantes records, and some Gal Costa albums of the same vintage. It's a bit shrill and driving, but if you are fascinated with that era and with the whole tropicalia scene, you'll definitely want to check this out. This was O Bando's only album; apparently they also released a single or two, and then went on to work elsewhere are backup musicians in the 1970s and beyond. (Reissued on Discos Mariposa.)


Baobas "Baobas" (Mocambo/Rozenblit, 1968) (LP)
A '60s mod/garage band with an album's worth of cover songs by US/UK acts such as the Kinks, Moody Blues, Doors, et al. The repertoire is kind of standard, but the band itself has a significant place in Brazilian rock history -- one sometimes-member was bassist Arnolpho Lima Filho, aka Liminha, who was later a member of 1970's Os Mutantes lineup, and became a prolific rock-pop producer in the '80s. I wish they'd sung in Portuguese rather than English, but I guess it's too late to do anything about it now...



Arnaldo Baptista - see solo discography and Os Mutantes discography



Cyro Baptista - see artist profile



Barao Vermelho - see artist profile


Barbatuques "Corpo Do Som" (MCD, 2003)


Barbatuques "Corpo Do Som - Ao Vivo" (MCD, 2003) (DVD)


Barbatuques "O Seguinte E Esse" (MCD, 2005)



Adoniran Barbosa - see artist profile


Beto Barbosa "Beto Barbosa" (Continental, 1987)
Before the lambada really took off, Barbosa was doing the same sort of material, only at halftime tempo. Sounds a lot like modern (synthy) Mexican ranchera music; these songs sound better than most -- they're listenable -- but as an album this is terribly, terribly monotonous. Barbosa has a bazillion other records, but really, jeez... who can be bothered??


Zelia Barbosa "Brazil: Songs Of Protest" (Le Chant Du Monde, 1968) (LP)
A personal favorite. Other than this one album of political songs recorded in France for the Le Chant du Monde label, I don't know of anything else this artist has done. It's a fun record, though, featuring protest songs written or popularized in response to the Brazilian military coup of 1964. Particularly catchy are renditions of Chico Buarque's "Pedro Pedreiro," "Opinao" and several other Ze Keti songs, as well as "Carcara" by Joao do Vale. Perhaps Barbosa is not the greatest vocalist ever, but I enjoy her forceful, robust approach -- sure, there are other versions of many of these songs (particularly those by Nara Leao) that may be more are compelling -- but this is still worth checking out. [Note: This album has been reissued several times, including editions on Monitor Records, and digital-era editions from Smithsonian-Folkways and Harmonia Mundi, which used the album title Sertaos E Favelas.


Carlos Barbosa-Lima "Dez Dedos Magicos Num Violao De Ouro" (1958) (LP)
The first album from acoustic guitarist Antonio Carlos Ribeiro Barbosa Lima (1944-2022) who emerged as a pre-teen prodigy in the late 1950s after meeting Luiz Bonfa and being introduced to classical composer-educator Isaias Savio, who became his mentor. (It should be noted that Barbosa-Lima recorded roughly fifty albums, so it may take a while to track down and catalog his work...


Carlos Barbosa-Lima "Concerto En Modo Frigio" (RGE, 1965) (LP)
An orchestral set, with Barbosa-Lima shining as the soloist, fronting an orchestra led by Maestro Diogo Pacheco. Side One features three compositions by Eduardo Grau, while the second side showcases pieces by Johann Sebastian Bach, Mozart, and one by Isaias Savio (1900-1977) an Uruguayan-born composer who is credited as one of the great popularizers of classical guitar after moving there in 1931. Savio was a particular favorite of Barbosa-Lima, as seen in the Brasil E Violao album, below...


Carlos Barbosa-Lima "Brasil E Violao" (Alvorada, 1979) (LP)
Another fine set of guitar music... Side One is dedicated to several compositions by Catullo da Paixao Cearense, including three co-written with others, while Side Two sweeps through a number of other composers, including two tracks by Isaias Savio.


Carlos Barbosa-Lima "Siboney" (Zoho, 2004)
Re-release of a 2001 album of Cuban music classics interlaced with various Brazilian oldies...


Carlos Barbosa-Lima "Carioca" (Zoho, 2006)
Braz-jazz with backing from from Duduka Da Fonseca, Nilson Matta and Danny Rivera...


Carlos Barbosa-Lima "O Boto" (Zoho, 1998/2007)
Guitarist Barbosa-Lima works through a diverse lineup of Handel, Jobim, Pujol and others... (Originally released in 1998 and reissued in 2007.)


A Barca Do Sol "A Barca Do Sol" (Continental, 1974) (LP)
A pioneering folk-jazz-classical fusion band, featuring the immensely talented cellist/arranger Jacques Morelenbaum near the start of his pop music career. The first album (re-released on a single CD along with the second) opens with a trio of stunning numbers, which blend flamenco guitar and NY-style salsa rhythms in with a heady mix of traditional Brazilian melodies and jazzy instrumental flourishes; the group sounds like a cross between the acoustically-based Quinteto Violado and wilder, more rock-oriented groups such as Novos Baianos. Interesting!


A Barca Do Sol "Durante O Verao" (Continental, 1976) (LP)
Sadly, the formula wears thin and by the second album, where they try on an even more experimental tone, becomes fairly irritating. These albums have a fascinating feel, but may ultimately be best seen as Morelenbaum's most energetic juvinelia. Still, since Morelenbaum later became one of Caetano Veloso's key collaborators and a major modern interpreter of Antonio Carlos Jobim, this disc may be worth checking out for any serious student of Brazilian avant-pop.


A Barca Do Sol "Sucessos" (1997)



Arrigo Barnabe - see artist profile


Junio Barreto "Junio Barreto" (Tratore, 2005)


Junio Barreto "Setembro" (Tratore, 2011)


Vicente Barreto "Ano Bom" (Warner-Continental, 1993)
(Produced by J. C. Costa Netto)

A disappointing album, with bland, poppy arrangements. Imitative of Gilberto Gil, but not Gil at his best. There's also a tint of Timbalada and other poppish/synthy axe bands. I enjoyed Barreto's later albums (see below) and they led me to pick up this disc, but I couldn't get into it. Not an album I need to come back to. Includes liner notes from his pal, Tom Ze, and a rendition of Ze's most well-known songs, "Hein," which Barreto co-wrote.


Vicente Barreto "Mao Direita" (Dabliu, 1996)
A lovely acoustic album, reminiscent of early Chico Buarque and Joao Bosco, but with a sprightliness that also reminds me of Cuba's Silvio Rodriguez. Nice stuff -- not a bum note or an irritating track on here. Guitarist Barreto has been a longtime collaborator of Ze's, ever since the early '70s, and can be considered co-architect of their distinctive sound. Tom pitches in on a few tracks, and many of the songs were co-written with Paulo Cesar Pinheiro. Recommended!


Vicente Barreto "E A Turma Chegando Pra Dancar" (Dabliu, 1999)
Wonderful! Silky, sensual, multi-layered gentle pop, along the lines of Arnaldo Antunes and Vinicius Cantuaria, with more than a slight hint of Jorge Ben's best stuff of the early '70s, and certainly with a nod towards Barreto's work with Ze. A relaxed, dreamy album with only a few misfires (such as the reggae-based "O Crague.") On the whole, I'd say this is record well worth checking out, and obviously one which the artist spent a fair chunk of time planning out and composing. Recommended!


Vincente Barreto "Noite Sem Fim" (Ouver, 2003)


Vincente Barreto "Vincente" (Ouver, 2008)
With Rafa Barreto...


Vincente Barreto "O Melhor De Vincente Barreto" (Dabliu, 2000)



Ary Barroso - see artist profile



Inezita Barroso - see artist profile


Marisa Barroso "Marisa" (CBS, 196--?) (LP)
With backing from trombonist Astor Silva and his band... Not sure of the date on this one, but it looks like early '60s, maybe '62-'63(?) with a mix of old-school ballads and some newer bossa nova tunes.


Mirzo Barroso "Mirzo" (RCA, 1965) (LP)
A schmaltzy, bombastic bossa-ballads set with contributions from bossa-jazz musicians such as percussionist Rubens Bassini, Copina (flute) and pianist Fats Elpidio on piano, with arrangements by Orlando Costa & Maestro Cipo, and Maestro Zaccarias at the helm as the album's musical director. One of those old-school, retro pop albums that persisted through the bossa nova era -- this didn't do much for me, and apparently it was Barroso's only album.



Vania Bastos - see artist profile


Batacoto "Batacoto" (Triloka, 1993)
Easy listening, smooth-jazz world music, Brazilian style. Not quite my cup of tea, but a stronger-than-usual offering for the genre... There are shades of Djavan, Gilberto Gil and Milton Nascimento in some of the songs, but they are all obscured by glossy pop-fusion production that I, personally, am not fond of... Ivan Lins is a guest performer, singing a duet with Dionne Warwick, of all people...


Batacoto "Samba Dos Ancestrais" (Velas, 1995)


Batatinha "Toalha Da Saudade" (Warner/Continental, 1976) (LP)
Old-school Bahian sambista Batatinha, a magnificent composer and gentle performer, sings a dozen of his best songs, with moving, richly emotional, mainly acoustic backing. The liner notes include a testimonial from Caetano Veloso, giving a sense of the high regard Batatinha is held in in his home town of Salvador. Lovely stuff, the kind of latter-day samba cancao that I adore.


Batatinha "Diplomacia" (EMI-Brasil, 1998)
A gorgeous album showcasing the songwriting and vocals of a samba old-timer -- the music is delicately sculpted, simple and strightforward. Batatinha's good-humored, old-man vocals are deliciously framed by straight-ahead acoustic arrangements. The nostalgic simplicity and grace of this album strongly recalls Joao Gilberto's 1981 album, Brasil. And, like that album, this one also features warm, reverential contributions by Maria Bethania, Gilberto Gil, Caetano Veloso, Chico Buarque and Jussara Silveira. This is well worth searching for, and not just for the high-power guest stars! Highly recommended.



Chico Batera "Ritmo" (Som Livre, 1979) (LP)
A manic mix of Santana-esque soul/rock/salsa and tightly crafted, Dazz Band-style funk... Drummer Chico Batera, a prolific studio session player, breaks out as a solo performer on this funky, uptempo set, which has some pretty tight grooves and is actually one of the best Brazilian funk records I've heard... Includes contributions from guest performers such as Joao Bosco, Dom Beto, Carlos Dafe and Raimundo Fagner. Yes, in some regards it can be irritating (the shrill guitar solos, in particular) but mostly it's a booty shaker. Definitely worth checking out.



Chico Batera "50 Anos De Baile-Salsa Com Alma" (BMG, 1998)


Chico Batera "Lume" (Biscoito Fino, 2000)
A mellow jazz set; other than the Portuguese-language vocal tunes, there isn't much on here to set it apart from similar material from Europe or North America. It's okay; not my cup of tea, though.


Chico Batera "50 Anos De Baile-Salsa Com Alma" (BMG, 1998)


Dyrcinha Batista "Serie Bis - Cantores Do Radio" (EMI-Brasil, 2000)
This disc opens on shaky ground, technically speaking, as the first track, her 1937 version of Lupicinio Rodrigues' "Nunca," warbles and buckles a bit under the weight of time. That's how you know, though, that this is a collection that includes actual radio performances, along with film appearances and numerous studio recordings. It's worth sticking it out, though, as Dyrcinha turns out to be one of the finest Depression-era singers in the Brazilian constellation. A confident vocalist with a warm, delicate trill and cheerful delivery that's reminiscent of Carmen Miranda, Batista also covered similar terrain, excelling in a brace of cheerful samba cancao tunes. This collection tracks her career through the late thirties into the wartime era and onto the early '50s... Highly recommended set by one of an early great whose best work is little-remembered nowadays.


Linda & Dircinha Batista "Linda E Dircinha Batista" (RCA-BMG, 2004)
A fine collection of two of the best "radio singers," sisters Linda and Dircinha Batista, recording solo (not as a duet) over the course of two decades (from 1941-1959). Each singer has her strengths, and each has a tremendous, appealing presence. In general, the earlier, more samba-oriented recordings are the best; as time went on, the arrangements and the overall approach became more florid and formulaic. But as a glimpse at the pre-bossa nova pop vocals era, this is a fine collection.


Bat Makumba "Bat Makumba" (Bat Makumba, 2003)
A super-impressive set of Brazilian/latin dance funk tunes, written and recorded by a trio out of San Francisco, CA. Although the band is known for live shows in which they do sizzling cover versions of '60s/'70s tropicalia oldies, this album is comprised entirely of original tunes written by the band... though you'd be hard pressed to tell this apart from contemporary Brazilian manguebeat artists such as Nacao Zumbi or Lenine. The spirits of Gilberto Gil, Jorge Ben and Os Mutantes hover supportively overhead as the Bat Makumba crew work their way through a dizzying array of rhythms, moods and styles, opening with the catchy forro-funk of "Trabalha" to the calming MPB balladry of "Resolucao", soft electronica of "Cantiga" and rowdy, good-time salsa rhythms of "Quiero (Cuba Rum, Cachaca Brasil)." On "Morro De Saudade (Enredo 415)," the band collaborates with the esteemed Velha Guarda da Mangueira, a group of musicians associated with Rio's famously buoyant Mangueira samba school. All in all, this disc by Bat Makumba is quite a feat: if any band from the EU stands a chance of having their music covered by someone back in Brasil, I imagine it would be these guys! Heck, they're even named after a Gilberto Gil song... what more could you want? Highly recommended.


Bat Makumba "Boteco" (Bat Makumba Records, 2008)
(Produced by Carl Remde & Bat Makumba)

This San Francisco-based dance band plays Brazilian music with a vengeance. The Brazilian rhythms are dense and the tempo furious -- an other tracks delve deep into American-style funk and even a bit of hippie-ish folk-jazz. Some of it's really groovy, reminding me of the wildly eclectic Brazilian manguebit of the 1990s, or the more modern hip-hop flavored "baile funk"of the last few years. Other tracks may try your patience a bit (the weirdo-funk song "Homo Sapiens," for example, is way too self-indulgent for me) but some of it's pretty cool. If you were drawn to Brazilian music for the swank harmonies and mellow elegance of classic bossa nova and MPB, this world-beat blast will be a new sound for you; depending on your temperament and taste, it may be either exasperating or exhilarating... Honestly, I found it a little exhausting. Still, I suspect they are pretty fun live.


Os Batuqueiros "Os Batuqueiros" (RCA Camden, 1976) (LP)


Toniquinho Batuqueiro "Memoria Do Samba Paulista" (Tratore, 2009)


The Beat Boys "Beat Boys" (RCA-Brazil/Lion Productions, 1968)
Although they were actually from Argentina, the Beat Boys made their names on the 1960s Brazilian rock scene, backing the great innovators of the psychedelic-oriented tropicalia scene -- Gilberto Gil and Caetano Veloso -- as they embraced electrified, American-style rock music. Along with bands such as Roberto Carlos' RC7 and the more notorious Os Mutantes, the Beat Boys were a go-to band if you wanted a hard-edged, solid garage-psych rock backing, and they appeared anonymously on several key tropicalia recordings. This is a reissue (with bonus tracks) of their own full-length release from 1968... You might read elsewhere how this disc is some kind of mind-blowing, hard-psych acid rock Rosetta stone; I think that's kind of an exaggeration... What this is, though, is an unusually cohesive Brazilian garage rock record by a band that was more professional-sounding and grittier than most of the other groups exploring the same music at the time. In the '60s, Brazil didn't have much history with greasy, grimy, longhaired rock music, and there wasn't a big back bench for them to draw on, so a band like The Beat Boys stands out at the front of the pack. If you want to hear a prime example of Brazilian "beat" music, with stylistic debts to melodically oriented groups such as the Beatles and the Standells (and maybe the Seeds, at the freakier end of their spectrum...) this is an album worth tracking down. Some fun songs, too!



Bebeto - see artist profile


Bebeto "Bebeto" (Whatmusic, 2005)
(Produced by Helcio Milito)

A lost album from Adalberto Castilho, aka Bebeto, the bassist for the bossa-jazz band, Tamba Trio. (Not to be confused with the samba-funk singer-songwriter Bebeto, whose records are listed above...) Although this is officially a non-Tamba "solo" album, bandmates Helcio Milito and Luiz Eca are also on board, with Milito producing and playing drums, and Eca performing on several cuts. Laercio de Freitas also plays piano, and is the arranger for much of the album. (See also: Tamba Trio, Luiz Eca.)


Bebeto (Castilho) "Amendoeira" (Biscoito Fino, 2006)


Gino Bechi "Volume 1" (Revivendo, 2005)


Gino Bechi "Volume 2" (Revivendo, 2005)


Bedeu "Africa No Fundo Do Quintal" (Copacabana, 1985) (LP)
(Produced by Antonio Carlos De Oliveira & Luiz Mocarzel)

Sleek, poppy, post-pagode samba, mixing the slower soul-MPB of artists like Luiz Melodia with the funkier party samba-rock sound of Jorge Ben, Bebeto and others. Singer-guitarist Jorge Moacir da Silva (aka Bedeu) was a popular songwriter in the '70s samba scene and co-founded the samba-rock band Pau Brasil, then went solo in the early '80s... He co-wrote the 1982 hit, "Guerreiro" with samba-soul star Bebeto, and his own version is included here as well. On this album he had an Afro-centrist emphasis, including songs like "Africa Quintal" and the anthemic "Zimbabwe." This is soulful, better-than-average, though still middle-of-the-road material, similar to pop-oriented samba artists such as Agepe -- pleasant and easy to listen to, though perhaps not always electrifying. It grows on you, though -- classic mellow party music.


Iara Behs "Ernesto Nazareth: Tangos, Waltzes And Polkas" (Naxos Music, 2005)
A yummy, majestic recital of many of composer Ernesto Nazareth's classic pieces. Solo pianist Iara Behs nimbly captures the bounce and lilt of Nazareth's work, and infuses it with the right warmth and humor as well. A really lovely record - I could listen to this stuff for ages!



Belchior - see artist discography


Paulo Bellinati "The Guitar Works Of Garoto" (GSP, 1991)
This was the breakthrough album for acoustic guitarist Paulo Bellinati, a richly-textured tribute to samba-choro legend Anibal Augusto Sardinha (aka Garoto), one of the great pioneers of Brazilian guitar music.


Paulo Bellinati "Guitares Du Bresil" (GHS, 1991)


Paulo Bellinati "Serenata: Choros And Waltzes Of Brazil" (GSP, 1993)


Paulo Bellinati "Lira Brasileira" (GSP, 1997)


Paulo Bellinati & Monica Salmaso "Afro-Sambas" (GSP, 1997)


Paulo Bellinati & Harvey Wainapel "New Choros Of Brazil" (Acoustic Music, 2004)


Paulo Bellinati & Weber Lopes "Virado" (2009)


Paulo Bellinati "A Felicidade" (GSP, 2011)


Bil Bell "Rosa Morena: Sambas Que Nao Se Esquece" (Tropicana, 1970) (LP)
This appears to be a reissue -- under a different name -- of the Os Sax Sambistas album, Sax Sambando, originally on the Plaza label. It's a fun, perky set of easy listening instrumentals, apparently led by fabled session saxophonist Moacyr Silva working anonymously -- for whatever reason -- as part of this made-up studio band. Includes covers of many bossa nova hits and samba-cancao classics such as "Teleco-Teco #2," "Desafinado," "Meditacao," and "Chega De Saudade." The hasty production style actually gives this album a distinctive sound -- it's a little bouncier and less languid than a many Brazilian lounge albums of the 1950s and '60s. In addition to the horn arrangements, this album prominently spotlights the guitar-vibrophone pairing of Waltel Branco and Tio Marinho, a technique echoed on Branco's albums of the same era. Apparently batucada percussionist Milton ("Mestre") Marcal is also part of this band, at least on this album. Fun, lightweight stuff!



Jorge Ben / Jorge Benjor - see artist discography



Bendego - see artist discography


Norma Bengell "Ooooooh! Norma" (Odeon, 1959) (LP)
I was actually surprised by how enjoyable this album was, given its obvious kitsch trappings... Brazilian bombshell Norma Benguell was apparently a Brazilian Marilyn Monroe knock-off, with piled, blonde-ish hair, a breathy voice and legs up to here. Bridgette Bardot might be an appropriate reference point, too, as this disc also has a bit of the French chanson-style vocal style as well (she doesn't sing in French, though, it's just that the vibe is similar...) According to writer Ruy Castro, in his excellent book, Bossa Nova, Benguell's suggestive look prompted a boycott by the Catholic Church, which of course made her a celebrity at the time... This was also significant because this disc has some of the earliest cover versions of early bossa nova tunes by Joao Gilberto and Tom Jobim, and the ensuing scandal helped boost their visibility as well. The arrangements, by the ubiquitous Maestro Gaya, are actually pretty good, certainly not cheesy, and Benguell is adequate as a "girl" vocalist. It's definitely very campy when she sings a few American standards in English ("That Old Black Magic," "Sunny Side Of The Street," etc.) but then again, this is the sort of thing that the loungecore crowd lives and dies for. If you're drawn to that sort of thing, this disc is definitely worth tracking down. Also includes a couple of early Jobim songs.


Norma Bengell "Norma Canta Mulheres" (Elenco, 1977) (LP)
Film star Norma Bengell returns to the recording studio for a tribute to female Brazilian composers, covering songs by Sueli Costa, Dolores Duran, Chiquinha Gonzaga, Joyce, Dona Ivone Lara, Rita Lee, Maysa and others... It's actually a rather nice album... A confident performer, Bengell is relaxed and unhurried, comfortable in her role as chanteuse, and backed by an understated all-star band that includes Rosinha de Valenca, Ed Maciel, Jacques Morelenbaum, Sivuca and others. Not mindblowing, but completely solid and credible. A few disco-y touches... but that's to be expected, back in '77.


Wilma Bentivegna "As Mais Belas Cancoes De Amor" (Continental, 1968) (LP)
Love ballads from Brazil and beyond, mixing bossa standards from the repertoires of Vinicius deMoraes, Delores Duran and Tito Madi with standards by Cole Porter, Harry Warren, Victor Young, et. al. It's more of a pop-vocals/radio singer holdover, but she has a jovem guarda youthfulness, if not an actual rock'n'roll sensibility. The arrangements are corny, but sweet, and this was certainly one of Bentivegna's stronger efforts. Worth a spin.


Wilma Bentivegna "Hino Ao Amor" (Revivendo, 2005)


Irmaos Bertussi "Sangue De Gaucho" (RCA-Camden, 1972) (LP)
Classic "gaucho," or cowboy, music by a brother duo from Rio Grande do Sul, Brazil's southernmost state, near the borders with Paraguay and Uruguay. The all-acoustic music is simple and pleasant, with strong stylistic similarities to Argentine folk music -- plaintive ballads sung to brisk, bright acoustic guitar. Brothers Honeyde and Adelar Bertussi stick to a sound that is softer and more melodic than the more piercing rural styles of the North, and though this twelve-song collection felt all-too short, it was quite pleasant to listen to... The Bertussi brothers were foundational to the modern gaucho genre: Honeyde was a prolific songwriter who began performing professionally in 1942, forming the Irmaos Bertussi group in 1945 and recording 78s and LPs for decades to come. I'm not sure what vintage these recordings are from... The Camden series is often reissue material, but this doesn't have their biggest hits on it and also the recording quality here sounds pretty modern, so I'm guessing these really were from the early 1970s. At any rate, it's a nice album, though maybe a little off the beaten track for many Brazilian music fans.


Irmaos Bertussi "40 Anos Ontem Hoje E Sempre" (ACIT, 1994)


Irmaos Bertussi "Os Grandes Sucessos Dos Irmaos Bertussi" (RCA, 2000)


Reginaldo Bessa "Amor En Bossa Nova" (1962) (LP)


Reginaldo Bessa "Passageiro Do Vento" (MAC, 1978) (LP)


Reginaldo Bessa "Outro Tempo, Outro Lugar" (MAC, 1981) (LP)


Bet.e & Stef "Jazz / Bossa Nova" (Bet.e & Stef Records, 1998)
Bet.e & Stef "Day By Day" (Bet.e & Stef/Universal, 2002)

This Canadian duo from Montreal mixes a love of Brazilian bossa nova standards with a more modern taste for soul stylings and jazzy vocals -- a perfect mix for the acid jazz/club kid crowd. On these two self-released records, Bet.e & Stef's Brazilianness really gels by the second album, where a more subtle touch, and a firmer sense of their production style comes to the fore. Overall, their soul jazz tendencies isn't really my cup of tea, but the acoustic bossa material can be quite lovely. For the right listener, these Quebecois crooners might be the perfect package!


Bet.e & Stef "Wish You Well" (EMI-Toshiba, 2004)



Maria Bethania - see artist discography



Betinho "Serie Bis: Jovem Guarda" (EMI, 2000)
Although he was one of the earliest Brazilian jovem guarda rockers (with one song, "Enrolando O Rock," apparently dating back to 1954), Betinho was hardly one of the most vigorous artists working in the style... His approach was pretty strictly novelty-oriented, with songs filled with sound effects like roosters crowing, etc., and it didn't take long for Betinho to abandon backbeats altogether... Most of the material in this too-generous 2-CD set is actually soft pop vocals or novelty/lounge instrumentals... A few moments of fun, but overall pretty marginal.


Don Beto "Nossa Imaginacao" (Som Livre, 1978) (LP)


Ricardo Bezerra "Maraponga" (Epic Records, 1978) (LP)
(Produced by Ricardo Bezerra, Raimundo Fagner & Hermeto Pascoal)

Blech. Noodly Northeastern MPB/jazz with a particularly flowery feel. There are gentle ululations, ala Milton Nascimento, and soft-jazz passages galore. A ton of Braz-jazz talent as well: Hermeto Pascoal is credited with the arrangements, and performs on most of the tracks; Raimundo Fagner sings harmony on several tracks, and several flautists -- Nivaldo Ornellas, Mauro Senise, etc. -- play together on some of the more sugary songs. Whatever. This is all waaaaaay too gooey for me, although I suppose for fans of Nascimento's work (or Fagner's) this could be a real find.


Cido Bianchi "Show De Orgao: O Mais Belos Temas Do Cinema E TV" (Farroupilha, 1965) (LP)
(Produced by Rogerio Gauss & Os Farroupilhas)

A solo album by organist Aparecido (Cido) Bianchi, who is perhaps best known as a member of the jazz-bossa Jongo Trio. This all-instrumental album of movie themes is pretty sedate, dull even, with modest accompaniment and lots and lots of high-pitched organ work. Not really my cup of tea, but folks who are more into "easy listening" and soundtrack music in particular might find something to celebrate here. Nothing particularly "Brazilian," though: he does cover "Manha De Carnaval," from Black Orpheus, but it's just as bloodless as the rest of the record. No need to go out of your way to track this one down. Really.


Cido Bianchi "Cido Bianchi" (Som Da Gente, 1985) (LP)


BiD "Bambas & Biritas, v.1" (MCD/Soulcity, 2005)
Featuring a veritable who's-who of Brazilian hip-hop'n'soul, both old and new, this is a fairly sophisticated, mellow set, with a funky soul-fusion feel. Eduardo BiD is the main artist, playing host to an impressive cast of Black Rio samba-soul elders and contemporary hip-hoppers... Carlos Dafe, Seu Jorge, Marku Ribas and Elza Soares are among the big-name guests... which is kinda cool, although the now-over-the-hill Soares brings things to a painful, grinding halt when she croaks her way through an extended solo on "Mandinguera." (I know she's lauded as a living legend and all, but Ella Fitzgerald she ain't...) This isn't really my cup of tea, but it is one of the finer contemporary albums of its kind, and it thankfully forsakes the louder, more confrontational rap attacks of groups such as Afro-Reggae or the irritating techno-bleats of the "funk carioca" crowd. So, for folks looking for a low-key middle ground to help them explore the booming Brazilian hip-hop scene, this is a pretty cool record to start your explorations. Worth checking out. (Available through www.soulcity.com.br. )


Bide Ou Balde "Bide Ou Balde" (Abril, 2002)


Bide Ou Balde "E Preciso Dar Vazao Aos Sentimentos" (L & C Editoras, 2006)
Generic, fill-in-the-blanks, New Wave-tinged, power-poppy alterna-rock... Atypical for Brazilian pop, but also kind of fun, like a prefab mix of the Dickies and the B-52s. This disc is actually fairly engaging, right up until the handful of remix tunes that close the album... But for folks looking to close up the indie-rock vacuum in Brazil's rock world, this is certainly worth checking out. Not the greatest, but it's interesting to know it's there.


Victor Biglione & Marcos Valle "Live In Montreal" (Rob Digital, 2000)



Biquini Cavadao - see artist discography


Biriba Boys "Biriba: Alegria O Brasil" (Chantacler, 1965) (LP)
Lounge-y Latin dance music, with a bit of bossa and jazz. Pretty kitschy, overall. The Biriba Boys were the band of Sao Paulo-based bandleader and pianist/arranger Sergio Weiss, who led the group through the 1950s and '60s. Not sure how many other albums they recorded...


Biriba Boys "Biribalanco" (Chantacler, 1969) (LP)
This album has a brighter, more modern production style, as well as a more jazzy easy-listening sound. Still too kitschy for my tastes, but some retro-ists out there might get into these guys.


Lana Bittencourt "Intimamente" (Columbia Records, 1958) (LP)


Lana Bittencourt "Sambas Do Rio" (Columbia Records, 1960) (LP)


Lana Bittencourt "Maxximum" (Sony-BMG, 2006)


Luiz Bittencourt "Vereda Tropical" (Musidisc, 1962) (LP)
(Produced by Nilo Sergio)

Kooky, pleasant easy listening, with a four electric-guitar band, led by Bittencourt, with light rhythmic accompaniment, working its way through a set of standards ("Begin The Beguine," "Jalousie," et. al.) and some Brazilian oldies. There's sort of a Les Paul vibe here, like Bittencourt wanted to sound like him, but couldn't quite swing the whole multi-tracking thing, so he just hired a handful of guitarists instead. It's pretty kitschy, but okay, in a goofy, ephemeral kinda way. No idea who the other guitarists might have been.


Bixiga 70 "Bixiga 70" (AguaForte, 2011)


Bixiga 70 "Ocupai" (Mais Um Discos, 2014)


Bixo Da Seda "Bixo Da Seda" (Continental, 1976) (LP)
In the early 1970s, the mod-psych band Liverpool metamorphosed into an experimental prog group - a transitional album under the name "Liverpool Sounds" led to a further name change, and a move from Porto Alegre to Rio... Although they rechristened themselves years earlier, this was their only album recorded as Bixo Da Seda.



Tony Bizarro - see artist discography


Black Joe & The Gordons "Barra Limpa 2: As 12 Mais Da Musica Juventude" (Op-Disc, 1968-?)
I'm not sure what to make of the singer called Black Joe (who apparently took his name from an iffy old Stephen Foster song...) I own one of his records, I've seen two others, and it appears there are at least a half dozen of them, all issued on the cheapo Op-Disc label, all from indeterminate dates in the mid-to-late '60s. There's a definite crossover in his work with the prefab, teenie-bopper jovem guarda style, with Black Joe both premiering and covering songs in the genre, and writing a few himself... And yet, the man remains a mystery, relegated to the back pages of Brazilian MPB, with no tangible information about him that I've yet been able to find online. On this album, Joe seems to have been part of (or backed by) the band The Gordons, but they faded from sight on future albums... So... anyone know more about this guy?? Also... anyone know what year(s) these albums came out?


Black Joe & The Golden Medals "Barra Limpa 5: As 12 Mais Da Musica Juventude" (Op-Disc, 1965-?) (LP)
(Produced by F. Contreiras)


Black Joe "E O Bom" (Op-Disc, 1969-?) (LP)
(Produced by F. Contreiras)



Aldir Blanc - see artist discography



Billy Blanco - see artist discography



Blitz - see artist discography


Blow Up "Blow Up" (Caravelle, 1969)
The first full-length album by this dynamic hippie-era rock band, formerly known as The Black Cats... These guys cited the Bee Gees as influences; you can also hear traces of sophisticated but hip pop bands such as the Rascals in their work -- and certainly The Zombies, since they cover "Time Of The Season" here (in English, unfortunately -- I would have loved to hear that song em Portuguese!) Blow Up (named after the Antonioni film) later toughened up their sound and became more of a hard-rock group, but this earlier, twee-er stuff is fun, too. Definitely one of the more vigorous rock bands of the jovem guarda era!


Blow Up "Blow Up" (Caravelle, 1971) (LP)
A pretty groovy hippie rock album, with plenty of stylistic influences, running roughly from the country-folkier side of the Byrds to a more heavy rock sound with little bursts of Cream-ish power chords and more jittery stuff that seems more Brit-Mod influenced. It's pretty cool, even on the songs where they sing in English. Apparently these guys had several changes of line-up and in addition to these two albums they also released a few singles, as late as '77... They certainly seem like good candidates for a best-of reissue disc!


Boca Do Rio "Boca Do Rio" (Vagabundo, 2007)
A slick, playfully funky mix of Brazi-Latin jazz and sugary pop... These San Francisco Bay Area artists take up the banner from younger, pop-friendly artists like Charlie Hunter, Peter Apfelbaum and Martin Medeski & Wood, who make jazz more accessible and less remote to mainstream listeners... The approach may be too soft for some (including myself) but for the right listeners, it'll be like aural catnip. Included in this crew are guitarist-singer Kevin Welch and pianist Jacob Aginsky (who once tickled the ivories at a local Bay Area breakfast joint I used to frequent...) The style isn't my cup of tea, but I'm not the only arbiter of taste in the world... If you like smooth-sounding world-jazz, this might really grab you.



Boca Livre - see artist discography


Boca Nervosa "Nego Veio" (Raposa Discos, 1985)
(Produced and arranged by Ze Carlos)

Sweet, pleasant acoustic samba with an old-school acoustic pagode feel... A few songs start off with gooey keyboards, but there are only a few songs that do, and they aren't really horrible, just a little annoying for a few moments... Mostly, this is a very nice set, with the sweet, classic sound. Recommended!



Bola Sete - see artist discography


Bolao "Favoritas Do Brotos" (RCA Camden, 1961) (LP)
The saxophonist nicknamed "Bolao" was apparently a member of the studio group Os Sambaloucos, and recorded several solo albums as well, many with youth-oriented "fad" themes.


Bolao "Cha Cha Cha E Twist" (RCA Camden, 1963) (LP)


Bolao "Muito Legal! Hully-Gully, Surf, Twist" (RCA Victor, 1964) (LP)


Bolao "Hully Gully" (RCA Victor, 1964) (LP)


Bolao "Forro Do Bolao" (Arlequim, 1979) (LP)


Bolao "Back 2 Bahia" (Stern's, 2003)
This percussionist, also nicknamed "Bolao," is a different guy from the '60s jazz musician. Not a lot of info about this release, either: for one thing, I'm not sure if this is the drummer Carlos Bolao listed below. Anyone know more about this guy?


Carlos Bolao "Pulsacao" (Guitarra Brasileira, 2009)


Bom Gosto "Roda De Samba: Ao Vivo" (EMI, 2005)
Old-school traditional samba-raiz -- the kind of stuff that was called pagode in the 1970s, before the term was taken over by slick pop-samba bands in the 1990s. Anyhoo, if you like groups such as Grupo Fundo De Quintal or Grupo Revelacao, you might like these guys, too.


Bom Gosto "Deixa Eu Cantar Meu Samba: Ao Vivo" (Sony-BMG, 2007)


Bonde Do Role "With Lasers" (Domino Records, 2007)
A poppy, techno-y, gleefully brainless, version of the baile funk/funk carioca dance style. This band's secret weapon is the piercingly tinny, half-innocent/half-mocking, adolescent tones of Marina Gasolina, who is, I believe, both the band's singer and the name of their hit single... It's kind of a Salt'n'Pepa/L'Trimm thing going on here. Anyway, I'm maybe a little too old for this kind of thing, but if you're looking for Brazilian music that (was) a little bit more modern, or more lighthearted than all that classic bossa and MPB, this party-down dance band might be just what you ordered.


Bonde Do Role "Tropicalbacanal" (Mad Decent, 2012)
I like this followup full-length better, just because it seems better produced and because they seem like a more accomplished band, after several years making EPs and remixes and whatnot. It just feels like a better record, even though ironically it has more kind of music that actively irritate me (a greater overt emphasis on rap, and more English-language lyrics; also less Gasolina). Lots of guest stars on here, most notably Caetano Veloso, who really, really, wants to make the scene with the kids today. Although there's a lot of stuff on here I'd say I don't need to listen to more than once, there are also several very fun songs... Overall, this definitely worth checking out.



Luiz Bonfa - see artist discography



Marcelo Bonfa "O Barco Alem Do Sol" (Trama, 2000)
A bouncy solo effort by a former member of Brazil's revered part-punk pop supergroup, Legiao Urbana. As with his old band's work, this album alternates between more-indie and more-commercial leanings... The Velvet Underground-ish undertone of a few songs is nice (but not that prominent), while other tunes drift into formulaic alternapop. The overall effect is, I suppose, of a Brazilian Morrissey (?) Probably worth checking out, if you're interested in hearing something from the world of modern, international guitar rock.


Marcelo Bonfa "Bonfa + Videotracks" (EMI, 2004)
A 2-disc CD-DVD set...


Marcelo Bonfa "Mobile" (Giz Producoes, 2008)



Emilinha Borba - see artist discography



Luiz Bordon "Recordando Carnavais" (Chantecler, 1960-?)
Carnival hits played on the Paraguayan harp? What will they think of next...?


Ari Borger "Blues Da Garantia" (ST2, 2000)
The blues have never had a particularly large presence in Brazil... The tropicalistas dabbled in them a bit; various rockers have played a riff here and a riff there, but for the most part, the style never seemed to strike the fancy of Brazilian audiences. That makes this a very unusual album -- an accomplished, hard-edged, houserocking blues blast, led by Sao Paulo pianist Ari Borger. He's got the goods: this is a punchy, well-produced set... superior, even, to most of the blues coming out in the United States these days. Vocalist Ivone Williams, who fronts the band on most of these songs, also has serious blues chops, wailing away in a Koko Taylor-y, Francine Reed-like fashion. The only trouble, though, is that most of the songs are sung in English, rather than Portuguese, which makes this merely a good blues album, rather than a rare and amazing cultural artifact. Still, this is worth checking out if you want to hear a completely different kind of Brazilian pop.


Ari Borger "AB4" (ST2, 2004)


Ari Borger "Backyard Jam" (GRV, 2010)



Lo Borges - see artist discography



Os Borges "Os Borges" (EMI-Odeon, 1980) (LP)
The Borges family band, featuring Lo Borges and his half-dozen brothers, as well as their mom and dad, as well as guest performers Lucio Alves, Gonzaguinha, Milton Nascimento and Elis Regina... A little more accessible than Lo's own work, but definitely some similarities that give a sense of what his musical roots were like... Interesting!



Joao Bosco - see artist discography


Bossacucanova & Roberto Menescal "Brasilidade" (Six Degrees/Ziriguiboom, 2001)
As one of the primary architects of bossa nova's sleek, tony sound, composer Roberto Menescal is justifiably a legendary figure, having co-written or arranged several of the genre's greatest early standards. Over the years, though, his own albums have tended towards syrupy easy-listening, particularly his many all-instrumental albums. But Menescal's penchant for the lightweight finds a surprisingly effective match in the retro EZ-fusion impulses of the Bossacucanova collective, which, by the way, includes his son Marcio as a member of the band. BCN's sub-jungle skittering and flat-out house-trance disco-isms lend themselves perfectly to Menescal's melodic minimalism. It's as if all those old albums of his were just waiting for someone to insert a few extra breakbeats and noodly toodlings to fill the empty spaces. Improbably, this is a pretty good record, and only mildly embarrassing to listen to. Worth checking out.


Bossacucanova "Uma Batide Diferente" (Six Degrees Records, 2004)
A fine album, in my opinion their best to date. The clubby touches accent but do not outweigh the more "Brazilian" elements, and finally the fusion sounds seamless. Guest stars abound on this well-produced album, including Marcos Valle (father of Bossacucanova's Marcio Valle), Adriana Calcanhoto and singer-guitarist Celso Fonseca and old-school '60s soulster Orlandivo. A few tunes got on my nerves, but for the most part, this was a very listenable record... Worth checking out!



Bossa Tres/b> - see artist discography


Richard Boukas & Jovino Santos Neto "Balaio" (Malandro, 2001)
Mellow and accomplished acoustic jazz featuring original compositions by this New-York based guitarist and Brazilian pianist. There are also a trio of tunes by Braz-jazz legend Hermeto Pascoal, whose band Jovino Santos Neto performed in for much of the 1990s... The vibe is kind of a cross between John McLaughlin and Milton Nascimento -- Boukas scats in a very Milton-like fashion, although with more restraint and precision. These tunes are generally very sprightly; overall this isn't my cup of tea, but it's very nice for the style, and if you like acoustic jazz, you might enjoy this disc...


Boyz From Brazil "Boyz From Brazil" (Ya Basta, 1999)
...Who actually seem to be from France. Lounge-y, acid-jazz-y, break beat-y mellow stuff which rather obliquely refers back to the acoustic cool of bossa nova and the (somewhat muted) thunder of Afro-Brazilian percussion. Not my cup of tea, but fans of the style might find this 2-CD set to be quite pleasant.


Graca Braga "Dia Do Graca: O Samba De Candeia" (Lua Discos, 2012)
A tribute to 1950's samba composer Antonio Candeia...


Leandro Braga "E Por Que Nao?" (Arabesque, 1992)


Leandro Braga & Johnny Alf "Noel Rosa: Letra E Musica" (Lumiar, 1997)


Leandro Braga "A Musica De Dona Ivone Lara" (Rob Digital, 2001)



Waltel Branco - see artist profile


Ana Maria Brandao "Interpreta Sinho" (Copacabana, 1978) (LP)
A tribute to 1930's samba-cancao songwriter Sinho...



Leci Brandao - see artist profile


Os Brasas "Os Brasas" (Musicolor/Warner, 1968) (LP)
Fun Beatles-y/Herman's Hermits-ish rock-pop that fits comfortably into the jovem guarda sound, but with hints of grungy garage roots. Apparently guitarist Luis Vagner was in this band, well before his days as a samba-rock and reggae pioneer -- he co-authored many of these songs, which, other than a weird cover version of the "Davy Crockett" theme, are pretty cool, at least by contemporary Brazilian standards. There are lapses into some pretty syrupy ballads, and little of the fieriness of their handful of singles, but this is certainly a disc worth tracking down.


Brasil & Company "Brasil & Company" (Cathexis, 2000)
Vocalist Vera Mara and guitarist Paul Meyers front this jazz-oriented New Jersey ensemble. Mara ably fills the role of samba-jazz chantuese, particularly on a sprightly version of the Carmen Miranda hit, "Tico-Tico No Fuba." Other songs include a pair of relatively obscure Jobim tunes, several luso-tinged jazz tunes by the likes of Wayne Shorter and Hermeto Pascoal, and a cover of Pixinguinha's instrumental classic, "1x0". Fairly lite overall, but a much stronger album than I expected on an independent jazz release. (You can contact the band directly through Jazz Corners.)


Os Brasileiros "Os Brasileiros Na Europa" (Odeon, 1958) (LP)
A joyful, upbeat album by an all-star ensemble that was equally adept in samba, forro and choro. Trio Irakitan provide earnest vocals in front of a band that featured Abel Ferreira on clarinet, Sivuca on accordion, and solid samba rhythms by Pernambuco do Pandeiro and drummer Dimas, along with some percussion by the Irakitan crew. It's all really fun stuff; in some ways I prefer the instrumental numbers where Ferreira and Sivuca deftly meld choro and forro. This album documents one of the numerous tours of Brazilian artists in Europe, and inspired the group to record at least one other album. Be great to see this in digital reissue some day!


Os Brasileiros "Os Brasileiros Novamente!" (Odeon, 1959) (LP)


Brasilia Modern Six "Estreia" (Odeon, 1959) (LP)
(Produced by Romeo Nunes)

Lethargic, lounge-music pop ballads, with flat female vocals and a bland male backing chorus, punctuated by a lazy vibrophone-and-guitar combo. Some songs in Portuguese, but more in English, such as "Those Were The Days" and "Say A Little Prayer." You can see what they were shooting for, but they fell short. Their lounge-y Latin version of the Doors' "Light My Fire" is semi-worthy pop-camp, but only if you're hardcore into the whole so-bad-it's-good ethos... There's other stuff I could think of that's so-bad-it's-better.


Brasilia Ritmos "Ritmos Do Brasil" (Odeon, 1959) (LP)
A lively set of samba and baiao music from a band with an unreal lineup of talent: Edson Machado is on drums, Waldir Azevedo plays cavaquinho, and Sivuca adds some accordion riffs that range from solid to practically subversive, with weird little twists and odd notions that will be readily identifiable to fans of his work. The rhythm section is solid, propelling the ensemble along, wile two vocalists -- a robust, likable male singer, and a gal who sometimes falls flat. Azevedo shines on the opening track, "Para Dancar," which has a goofy novelty quality worthy of Chet Atkins, but is dazzling nonetheless. All in all, a nice solid set of old-school Brazilian regional pop, with a dash of creative innovation, mostly from Sivuca working wonders in the margins. Definitely worth checking out, especially if you're a fan of Sivuca's work. Plus, composer Humberto Teixeira wrote the liner notes...!


Brasil Ritmo 67 & As Tres Mais "Botando Pra Quebrar" (RCA, 1970) (LP)



Victor Assis Brasil - see artist discography


Marya Bravo "De Pai Para Filha: Marya Bravo Canta Ze Rodrix" (Joia Moderna, 2002)
A tribute to MPB rocker Ze Rodrix...


The Brazil All-Stars "Rio Strut" (Fantasy Records, 2002)
A fairly slick collaborative effort featuring a host of Brazil's jazz-pop fusion elite... Joao Donato, Dom Um Romao and Eumir Deodato preside as the grand old men of this lavish project; a dozen other artists pitch in, including the songbirdish Ithamara Koorax, Claudio Roditi, Thuiago de Mello, Dino Rangel and others. For the most part this album is too glossy and fusion-y for my tastes, but there are several lovely ballads tucked away amid the many songs with larger arrangements. These moments of grace were enough to keep my attention...


Brazilian Bitles "...E Onda" (Polydor, 1967)
Though they lay claim to the Beatles mystique, this late '60s Rio rock band had a strong streak of soft(er) rock, as much Jan & Dean and John & Paul... Apparently they emerged the nascent Brazilian garage scene and were one of the first bands to cover the Beatles (here, on their full-length debut, with "Qual a Razao," a cover of "Daytripper") as well as the Rolling Stones and others, in addition to some fine homegrown Brazilian rock. This disc hints at their more rugged roots, but also has some pretty soft edges... The Bitles also worked as a backing band for various artists; nice to hear them here on their own. A notable album from the jovem guarda scene, even though they are a bit too restrained overall. Worth a spin!


Brazilian Octopus "Brazilian Octopus" (Som Livre/Fermata, 1970) (LP)
(Produced by Mario Albanese & Fausto Canova)

Despite the freaky band name, this is a pretty standard-sounding light jazz release, albeit with a lot of heavyweight players in the lineup: guitarist Lanny Gordin, Hermeto Pascoal, pianist Cido Bianchi, bassist Nilson da Matta, and others. Apparently they were assembled as part of a band that played a yearlong live gig at a factory that also liked to host live music events. The music is a mix of smooth jazz (occasionally verging on muzak-y kitsch) and some Latin jazz touches, as well as pop-orchestral/spy-jazz material... There are some dark undertones, particularly some unresolved minor chord action in downward scaled string arrangements, and I guess musically there's interesting stuff going on here, but it's more of a cerebral, jazz-lover's thing than an overt wowzer of an album. Certainly for students of Brazilian jazz, this is a cool historical document; kind of easy on the ears as well!


Brazilian Trio "Forests" (Zoho, 2008)
Braz-jazz from Duduka Da Fonseca, Helio Alves and Nilson Matta...


Os Brazoes "Os Brazoes" (RGE, 1969) (LP)
Historically cool, but musically flawed, this fuzz-laden, tropicalia-era acid-rock band hewed closely to the trail blazed by Gilberto Gil and Os Mutantes, in particular to the spacey, improvisational style that Gil fell into in the early '70s. Apparently, these guys were Gal Costa's backup band during her wildest freak-out years; but like her renowned psychedelic albums from 1968-69, this disc actually isn't that much fun to listen to. It's ill-formed, sluggish at times, and dimly conceived. A genuine relic of the times, and amazing in its own way, but not as compelling as the truly great records of the time were. That being said, I'll definitely hang on to my copy!



Jose Briamonte - see artist discography


Leal Brito "Ritmos Do Brasil" (Musidisc, 1953)


Leal Brito "Piano Em Samba" (Musidisc, 1955)


Leal Brito "Vamos Dancar Com Britinho" (Sinter, 1956)


Leal Brito "Noel Rosa Sem Parceiros" (Sinter, 1957)


Leal Brito "Pensando Em Ti" (Sinter, 1957)


Leal Brito "Sambas E Boleros" (Columbia, 1959)


Leal Brito "Dancando Em Hi-Fi" (Columbia, 1960)


Leal Brito "Exitos Sucessos Hits" (CBS, 1964)


Leal Brito "Baile De Samba" (CBS, 1965)


Leal Brito "The Piano Of Leal Brito -- Recordings: 1953-1957" (Black Round Records, 2009)
Vintage kitsch. A mix of nightclubby piano plinking and light-pop choro revival tunes, featuring the pianist nicknamed Britinho, both solo and with minimal accompaniment by some top-flight musicians such as guitarist Ze Menezes and clarinetist Abel Ferreira. These are hardly electrifying performances, but its still an interesting curio from the pre-bossa nova era. The first eight tracks are solo pieces, while the rest of the collection reissues a 1957 album called Noel Rosa Sem Parceiros.



Carlinhos Brown - see artist discography


Bruno & Caetano "Apocalypse" (Itaipu, 1980)
One of the rare instances in which I actually prefer hearing Brazilians singing in English... On this painfully earnest dystopian folk album, the Simon & Garfunkel-ish duo of Bruno & Caetano fret about technology, automation, war, environmental collapse and romantic disappointments, all at a sluggish tempo and with minimalist pop accompaniment. On "Prayer," they dip into religion, and the record takes on a different tint, punctuated by the following song, "SOS" (which stands for "Save Our Souls") It's a pretty hilarious album, perhaps of more interest to kitsch collectors than actual folk-freak fans. But either way, a document of its times.


Lenita Bruno "Por Toda Minha Vida -- Musica: Antonio Carlos Jobim, Poesia: Vinicius De Moraes" (Festa, 1959)


Lenita Bruno "Modinhas Fora De Moda" (Festa, 1960) (LP)
In the past I've found Ms. Bruno's bossa nova recordings too operatic -- that is born out here on this fascinating (but lachrymose) album exploring the antique Brazilian serenade known as the modinha. Mining the deep reserve of this 18th Century romantic style, Bruno fully indulges her classical-operatic songbird tendencies, and in this context it sounds entirely appropriate. The modinha is a richly sentimental, syrupy, resolutely antique musical form, allowing Bruno to throw herself into the melodrama and flex her considerable vocal range, employing showy techniques that would be distracting in the quieter bossa environment. I suspect that the modinha repertoire can also be approached from an earthier, more rugged vantage point, but these genteel, fully orchestrated performances are quite nice. Probably not too accessible for the average Brazilian music fan, but richly rewarding when you get onto the proper wavelength.


Lenita Bruno "...Em Hollywood" (1964)


Lenita Bruno & Bud Shank "Work Of Love" (1964)


Ze Bruno "Big Circle" (Tonga Productions, 1999)
Glossy, but percussion-heavy, MPB from a Los Angeles-based Carioca expatriate... Percussionist Ze Bruno is a well-known session player who's worked with several big Brazilian stars -- the favor is repaid here by guest appearances from Ney Matogrosso and Leila Pinheiro; Pinheiro's vocals on a version of Baden Powell's "Conolacao" is one of the album's high points. While the glitzier aspects of the production -- the tinkly, soca tinged keyboards, and the like -- are not really my cup of tea, Bruno's muscular drumming underpins the album quite nicely. If you like slick stuff, you might enjoy checking this one out.


Paul Bryan "Listen Of Paul Bryan" (Blue Rock/Sonar Kollectiv, 1973/2008)
World pop culture is such a kick. Witness this goofy, charming folk-pop record, recorded in the early 1970s by Brazilian keyboardist Sergio Sa, performing under the pseudonym "Paul Bryan," for this set of English-language songs. The orchestration -- acoustic guitar with piano and light string sections -- is pure groovy, folk-freak retro, both kitschy and catchy and delightfully cloying and preposterous. Sa's thin voice has a distinctly feminine tone; on several songs, particularly the opening of "Like A Rainy Night," he sounds a lot like Carly Simon, for what that's worth. This disc, discovered by a lucky crate-digger somewhere in Germany, is both a real timewarp and a delightful example of Brazilian pop-envy... The untrained ear might wonder exactly what kind of accent this is, but, yeah, it's that charming Brazilian-doing-American sound that's familiar to fans of the tropicalia records of the same era. Silly stuff, but fun. Loungecore fans will definitely want to check this one out!


Brylho "Brylho" (Warner-Elektra, 1983) (LP)
Brazilian new wave pop, with a bluesy, soul-ish twist... Not quite my cup of tea, but they did have a distinctive sound... Features the soul/jazz songwriter and multi-intrumentalist, Claudio Zoli, who went on to a long solo career from here.



Chico Buarque - see artist discography



Cristina Buarque - see artist discography



The Bubbles - see artist discography


Babalao Carlos Buby "Sao Jorge Guerreiro" (Caritas, 1984) (LP)
A hardcore set of candomble music in the umbanda tradition, with songs in praise of various orixas... Carlos Buby is backed here by the Coral do Temple Espirita Caboclo Guaracy... Apparently this was re-released on CD, so you could look for that, too.


Burnier & Cartier "Burnier & Cartier" (RCA, 1974) (LP)
Singer-guitarists Octavio Burnier and Claudio Cartier had a glitzy, breezy pop-samba fusion sound, with a decidedly early-'70s cheerfulness that's reminiscent of the so-called "sunshine pop" style pioneered by the studio wizards in Los Angeles. Sort of an Association-meets-Jorge Ben-meets-George Benson kinda vibe. Although I'd be very embarassed and mortified to be caught listening to this at home, after a while it grew on me... Joao Bosco comes to mind right off the bat... Burnier's uncle, the great Luiz Bonfa, plays on a couple of tunes, and Paulo Moura adds some sax riffs...


Burnier & Cartier "Burnier & Cartier" (Odeon, 1976) (LP)


Octavio Burnier "Danca Infernal, MPBC" (Philips, 1979) (LP)
A solo set from one of the Burnier & Cartier duo... I'm not sure but I think this might be the only album he did under his own name, along with a single that came out around the same time...


The Buttons "The Buttons" (RCA Victor, 1970) (LP)
The Buttons evolved out of a surf-y instrumental group called Os Botoes, recording this psychedelic pop album with English-language lyrics and lots of fuzzy guitar riffs and bouncy rhythms. Although I'm not necessarily a fan of Brazilian bands that don't sing in Portuguese, this disc does have a catchy feel. Very much in keeping with the Youngbloods/Three Dog Night/Turtles pop of the era, and worth a spin, I suppose, although you don't need to kill yourself to track this down. Apparently the band kept changing its name and morphed into an act called The Union, which recorded an album in 1973. They also backed singer Dave Maclean on his first album, which produced a hit song with the (English language) song "Me And You," which was used as the theme to a popular '70s telenovela, "Ossos Do Barao." Go figure. Of course, various members of this band worked with other '70s rockers, though this album was their main claim to fame.


Nonato Buzar "Nonato Buzar" (RCA Victor, 1970)
The solo debut from composer Nonato Buzar, whose career spans back to the 1950s, and who played an active part in the growth of MPB in the '70s, including his role as leader of the avant-MPB group A Turma da Pilantragem. Although he looks like a total freakazoid on the album cover, this is a fairly straightforward, poppy album, with perky though ambitious arrangements, but nothing particularly outrageous or avant-garde in the mix. Some nice, summery melodies, particularly on Side Two, with songs such as "Elementar Meu Caro Watson," "Beira-Mar," and the all-too-brief "A Feira." All the songs were written or co-written by Buzar, with collaborators that include Antonio Carlos Marques, Roberto Menescal and Torquato Neto. Definitely worth checking out.


Nonato Buzar "Nonato Buzar E O Pais Tropical Via Paris" (EMI, 1975) (LP)
(Produced by Talmo Scaranari & Oseas Lopes)

An interesting mix of cheerful, disco-y pop, summery samba-rock and plain old brega MPB... Although songwriter Nonato Buzar arranged the music, and sings at the start of the album alongside a loose, flowery female chorus, on the second side of the disc he more or less gives the record over to singer Renata Lu, who emerges from the chorus and takes on the lead vocals. This disc was a little too glitzy for my tastes... I imagine, though, that folks in the acid jazz scene might do flip-flops of joy over it... It's a good, strong example of the genre, and very much of its time, and one of the few chances to hear Ms. Lu really cut loose as a solo artist.



Olivia Byington - see artist discography



Charlie Byrd - see Bossa Nova Jazz




Brazilian Music - Letter "C"




Main Brazil Index
World Music Index


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