Os Cobras "O LP" (RCA, 1964)
An all-star Brazilian jazz band, featuring hot-shot players such as Milton Banana, Tenorio, Jr., Raul De Souza, Paulo Moura and J.T. Meireles. Like many of the Brazilian jazz albums that actually are jazz albums, this is more jazz than "Brazilian"... With the exception of a cover of Clifford Brown's "Blues Walk" (which was a favorite standard in Brazil), these songs are all homegrown compositions... yet they sound like straight-up hard jazz from the 'Fifties, early 'Sixties era. This album is notable both for the calibre of talent in the band, but also for the weight of their playing -- this still isn't my cup of tea, but I like it better than the tinkly, hyperactive cabaret style which predominated in the bossa nova years.
Codo "Um Violao Muito Bom Modestia A Parte" (Continental, 1969)
(Produced by Ismael Correa)
A talented and distinctive guitarist known as Codo is here subsumed to the demands of a goofy, cheesy easy-listening set. The mostly-instrumental set mostly draws on Brazilian sources (including quite a few tunes composed by Codo) with a dash of Cole Porter and Nino Rota thrown in for good measure. Codo's guitar work is appealing, the oooh-ahhh Sixties pop vocal chorus and gooeystrings, less so. EZ enthusiasts may delight in this disc, other listeners in search of something with more bite will probably want to keep looking elsewhere.
Codo "...E O Violao" (CID, 1977)
(Produced by Ismael Correa)
Codo "Coisas Da Minha Terra" (CID, 1978)
(Produced by Aramis Barros)
A lovely album from the guitarist known as Codo... The album is split into two parts: on Side One is stripped-down and acoustic, with Codo playing a number of his own compositions, including a tribute to tunesmith Ernesto Nazareth, as well as a couple of classics by Noel Rosa and Pixinguinha. Accordionist Sivuca plays with him on several tunes, and continues on through Side Two, which gradually becomes more heavily orchestrated and even poppy by the end. The first side also includes several "bate papo" tracks (where the artist discusses the music), which may be of interest to archivally-oriented fans. A sweet set by a talented, influential old-timer.
Gerson Combo "...E A Turma Do Soul" (Polydor, 1970)
A very cool, weird album by Gerson King Combo, a Brazilian soul artist who named himself after an American jazz band, the King Curtis Combo, and who helped lead the "Black Rio" soul scene in the 1970s. This early album is a fascinating mix of influences, starting off with a couple of Cuban son flavored tracks, with a cooking salsa/boogaloo sound topped off by Combo's James Brown-ian growls and groans. Things get more kaleidoscopic from there: acid rock electric guitars on a cover of an Ary Barroso oldie, a deeply funky rendition of Marcos Valle's "Dez Leis," and a version of Paulo Diniz's "Quero Voltar Pra Bahia" that's even more warped and strung-out than the original. Some of this disc is just plain nutty, a lot of it is just plain cool, and it's certainly one of the stronger freak-out albums of the era, sort of a soul equivalent of what Os Mutantes were doing in the psychedelic rock arena. Combo's later albums were briefly reissued on CD, but sadly not this one... Well, eventually I'm sure it will see the light of day again: keep your eyes peeled, 'cause it's worth looking for! And, yes: his last name is Combo, not King. (Go figure!)
Gerson King Combo "Gerson King Combo" (Polydor, 1977)
No foolin'... This is one of the few old Brazilian funk albums that actually lives up to the hype. It's awesome. Too bad it's so damn hard to track down a copy!! Anyway, Gerson King Combo was once part of Wilson Simonal's band, and was a major force on the Rio soul scene. He had a seriously hot band, which owed a huge debt to fellow Polydor label-mate, James Brown. Up in the States, Brown's disciples such as Bootsy Collins took JB's hard-driving rhythms and transfomed them into something even more modern and funkier... which is also what Combo did, down in the steamy nightclubs of the Black Rio scene. I'm not exactly sure why he took a fade after only a few albums, but it's a shame, since this disc really was first-rate. Highly recommended.
Gerson King Combo "Gerson King Combo, Vol. II" (Polydor, 1978)
A disappointing followup to his brilliant album from '77. Here, GKC is under the spell of Barry White, rather than JB and Bootsy. But he doesn't quite have the silken sleaziness to carry off the whole "hey, babeh..." routine. The album is indulgent, but not deliriously, deliciously indulgent, as were the Parliament/Funkadelic albums that, perhaps, he was hoping to emulate. Funk fans will probably want to check this out anyway (especially since it's finally back in print), but I found it rather tedious. Oh, well.
Gerson King Combo "Mensageiro Da Paz" (WEA, 2002)
Comunidade S8 "O Rio Das Aguas Que Saram" (1977)
Painfully earnest chamber-folk Christian psychedelia, with a mix of hurdy-gurdyesque acoustic swirliness, flat, sombre male vocals, counterpoised with a keening female soprano, and an almost unvarying musical approach from track to track. Religious messages are laced throughout, which may account for the overly-serious tone ("S8" stands for "salvation eternal...") A countercultural relic, to be sure, but I didn't find it that interesting: the arrangements are dreary and monotonous, reminiscent of the madrigal moments of old Os Mutantes albums, but without the rock vibe to cut through the classical pretensions. Apparently this group, and its evangelical ministry are still around, decades after their formation in the late 'Sixties... This was their first LP.
Companhia Do Pagode "Psiu Psiu: O Melhor Do Companhia Do Pagode" (Polygram/Mercury, 1998)
A perfect example of the degradation of "pagode" music from the richly-layered acoustic sambas of the 1970s into the more stripped-down, popped-up, commercialized dance style of the 1980s and '90s. The artwork says it all: a couple of dorky guys in casual, polyester-y outfits, flanking three scantily-clad young women, whose tight-fitting swim clothes seem designed primarily to show off their tushies and midriff. The image is tacky, although the music is appealing, in a bland, brainless kind of way. If you put this stuff on, you'll find yourself tapping your toes and nodding your head... But while it works as simple pop music, it's not even exciting enough to count as a guilty pleasure. This best-of set includes several live tracks... It's all okay, inoffensive but unchallenging.
Onias Comenda & Edinho Marundele "Eu, Bahia" (Philips/Fontana, 1972)
An interesting album of berimbau and Orixa-related percussion by two players I've never heard of before. Each artist takes one side of the LP -- Marundele (whose real name was apparently Edson Emerete de Sant'Anna) is the drummer, and his side is dynamic and intense, running through rhythms from Angola and their Brazilian permutations. Similarly, berimbau master Onias Camardelli plays capoeira music from Angola and Bahia, as well as improvisations of his own creation. Some of it is spooky and haunting, some of it seems kind of static and same-y. I don't think the average fan of Brazilian pop would get much out of this, but for cultural scholars and capoeira students, this album would be a goldmine.
Eduardo Conde "Minha Chega" (Philips, 1969)
A schmaltzy pop-bossa album from a modestly talented singer who went on to a long career as a television actor. Conde apparently was a member of the Conjunto 3D, which also featured a young Beth Carvalho as its "girl" singer. I wouldn't say this album is super-special -- the arrangements are distinctive for being a bit cluttered and manic; Conde himself is kind of a corny, emotive crooner, and also a bit generic. This is okay, but it's nothing to get too worked up over. Of note are a couple of songs written by Arthur Verocai, who has gone on to become something of a cult artist over the years...
Conjunto A Voz Do Morro "Roda De Samba" (Musidisc, 1965)
This exquisite acoustic album was a foundational touchstone for the traditional samba revival of the 1960s, featuring contributions from master sambistas Jair Do Cavaquinho, Elton Medeiros and bandleader Ze Keti, along with newcomer Paulinho Da Viola, who solos on a couple of songs. It's a beautiful album and a great debut for Da Viola, a joyful, stripped-down session, with each artist trading lead vocals from song to song, round-robin style. All the performances, all the songs, all the melodies and choruses are rich with history and finesse: these guys set the bar pretty high for anyone who would follow. Note: Keti apparently wasn't on this album, although he appears on later Voz Do Morro releases -- the record is no less rich and rewarding for his absence, though. A wonderful album -- highly recommended!
Conjunto A Voz Do Morro "Roda De Samba v. 2" (Musidisc, 1965)
Conjunto A Voz Do Morro "Roda De Samba v. 3" (RGE, 1966)
Conjunto A Voz Do Morro "Os Sambistas" (RGE, 1966)
Conjunto Brasilia Ritmos "Ritmos Do Brasil, v.2" (Odeon, 1959)
A kooky little album, maniacally paced, combining choro and regional styles like forro and baiao, along with a goofy, though not quite glitzy, orchestral tone. The players include accordionist Sivuca and cavaquinho whiz Waldir Azevedo, as well as several other stalwart studio pros. There are a couple of singers who are enthusiastic, though rough-edged, including a gal named Wilma Valeria, who I've never heard of before... This isn't a blow-you-away kind of album, but it's got a lot of pep and pop to it; they sound like they had fun making it.
Conjunto Rosa De Ouro "Rosa De Ouro, v.1" (EMI-Odeon, 1965)
Conjunto Rosa De Ouro "Rosa De Ouro, v.2" (EMI-Odeon, 1967)
Conjunto Rosa De Ouro "Raizes Do Samba" (EMI Brasil, 2000)
As part of their excellent "Raizes do Samba" reissue series, EMI has collected both these old albums on one CD. An all-star ensemble including Paulinho Da Viola, Clementina De Jesus, Elton Medeiros, Jair do Cavaquinho and Nelson Sargento... so how could you go wrong? These acoustic sambas are intensely rhythmic, though light on percussion, and heavy on vocals and guitars. When recorded in the mid-'60s, this music was a deliberate throwback; what's modernized about it is the smoothness of performance and production. Mighty nice stuff.
Conjunto Sarau "Cordas Novas" (Rob Digital, 2003)
Conjunto Som 4 "Conjunto Som 4" (Continental, 1964)
A rather bland jazz session featuring Hermeto Pascoal and cohorts Edilson (drums), Azeitona (bass) and Papudinho (trumpet). Although the compositions are from contemporary Brazilian bossa songwriters (all the usual suspects), the sound is pure North American jazz, indistinguishable from their cool Stateside contemporaries, except for the inferior, unexciting performances. This album doesn't stack up well compared to Hermeto's infinitely more soulful Quarteto Novo sessions of a few years later. This is a dull, slow-going, pale imitation of American jazz.
Conjunto 3D "Muito Na Onda" (Odeon, 1967)
This 1967 album features some of the earliest recorded work of samba superstar Beth Carvalho, who was the "girl" singer in this pop vocals/jazz band, as well as pianist Antonio Adolfo. They're aiming for a swinging Sergio Mendes/Young Holt Trio-style hipness, and in many ways are more successful here than many of their contemporaries. Carvalho sounds either hampered or hesistant on many of the tunes; she's paired up with a couple of fairly unremarkable male vocalists... But on some songs she shines, particularly on "Patruira Samba" (the lone Adolfo composition on an album packed with North American pop and jazz standards such as "When The Saint's Go Marching In," Cole Porter's "Night And Day," Herbie Hancock's "Watermelon Man," etc.) and on an early Gilberto Gil composition, "Roda," which is also a highlight of the album. The English-language material is uniformly unsuccessful, but there's still an adventurous air here that hits the mark on a few songs. Adolfo went to form the band Brazuca, which took this formula further (and abandoned the attraction to cover tunes...) while Carvalho, of course, went on to become one of the biggest stars of her generation... This is an interesting prelude and/or historical footnote to her career! (See also: Trio 3D.)
Gerson Conrad & Zeze Motta "Gerson Conrad & Zeze Motta" (Som Livre, 1975)
Gerson Conrad "Rosto Marcado" (Warner Arquivos, 1981)
A solo album by one of the founding members of the once-great Brazilian glam/tropicalia bands, Secos & Molhados, which also featured singer Ney Matogrosso. This is pretty slick, AOR-ish stuff, and it falls prey to many of the stylistic shortcomings of the time -- slow, fusion-y arrangements, soft-funk basslines, tinkly keyboards, and an overall strained wimpiness. There is a vocal similarity to Caetano Veloso, though -- Conrad was from Sao Paulo, but he has a soft, Bahian delivery. Anyway, this is pretty cheesy, though also inoffensive and listenable... nothing to struggle too hard to track down, unless you're really, really into the ornate pop stylings of the late '70s/early '80s MPB scene.
Baby Consuelo "As Melhores" (Columbia, 2002)
A best-of collection of late-vintage hits and not-so-much-hits by this former member of the innovative 1970s psychedelic/prog band, Novos Baianos. Although better than a lot of BRock, for the most part this disc is pitiably bad -- frenetic hard rock and shrill, cluttered, new wavey synthpop similar to that of Rita Lee or Cazuza. A few tunes flirt with more subtle presentation, but not many. I'd guess these tracks date mainly from the late '80s to early '90s, they have that MTV-ish feel to them. Sometimes the clumsiness is charming, but honestly, I'd be embarrassed to have someone catch me listening to this at home. Worth checking out, though, if you're tracking down the career paths of '70s rockers.
Copa 7 "O Som Do Copa 7" (Top Tape, 1979)
One of the sleeker bands from the "Black Rio" soul movement, Copa 7 were looser than the better-known Banda Black Rio and funkier than most of the soul singers that dominated the '70s scene. They were also more identifiably building from a samba background, but layering it with tight horn and keyboard arrangements, similar to Earth Wind and Fire. The Copa 7 took their name from an earlier jazz band led by J.T. Meirelles, although as far as I know there were no direct links between the two groups. Either way, this is a pretty cool record, with some solid funk and soul performances, and a few lapses into softer disco-pop instrumentals. The influences of bands such as the Bar Kays, KC & The Sunshine Band and Brazil's Tim Maia can readily be heard on this disc, a long-time collector's item, and certainly worth looking for, if you're into the style.
Copa 7 "O Som Do Copa 7, v.2" (Top Tape, 1980)
A fine follow-up to their first album, maybe a bit tougher and more muscular, but still drenched in solid, funky rhythms and sharp, American-style funk and R&B. These guys really were several steps ahead of most of their competition. [Reissued by What Music.] Recommended!
Cordel Do Fogo Encantado "Cordel Do Fogo Encantado" (Rec Beat, 2001)
Experimental Brazilian rock, seemingly equally influenced by manguebeat artists such as Nacao Zumbi and the dadaist tropicalismo of Tom Ze. Heavy on the percussion, this disc drifts and ambles, avoiding rock guitar cliches and has a certain fresh playfulness to it, with spaced-out, Allan Ginsburg-ish poetic lyrics. It's a bit meandering, not melodically that satisfying, or filled with overt pop hooks, but it's still interesting to know that there is this sort of searching, difficult-listening avant-ish pop being made in Brazil. Producer Nana Vasconcelos's guiding hand is easily felt on this far-ranging set; he also plays percussion on most tracks. Kinda sounds like Quinteto Violado after a particularly long night, with a slight hangover, but still up for some more fun.
Cordel Do Fogo Encantado "O Palhaco Do Circus Sem Futuro" (Rec Beat, 2002)
(Produced by Cordel Do Fogo Encantado, Ricardo Bolognini & Boguinha Dub)
More of the same; an unusual sonic excursion, certainly different than most Brazilian pop, and worth checking out, if you want to go a little on the wild side. Their first album might be slightly better, but either disc will hit you about the same.
Cordel Do Fogo Encantado "MTV Apresenta..." (Trama, 2005)
Nando Cordel "Folia Brasileira" (RCA, 1987)
A poppy hybrid of forro and other styles... Mostly this is alright; the accordions are good throughout (including some nice work by Dominguinhos), but the electric guitar work is fairly standard-issue, and some of the stylistic choices are questionable, particularly the bland, big-drum machine samba-reggae. Still, not bad for the style or the times. I don't know anything about this guy, but this seems okay to me. Besides, anyone who can get Martinho DaVila to guest on their album has to have something on the ball.
Nando Cordel "Grandes Sucessos" (BMG-RCA, 1998)
Really pretty horrid. As this best-of set (covering 1989-91) shows, Cordel's brand of northeastern-tinged pop became increasingly formulaic and boring; the accordions shifted to the background while a particularly annoying and uninventive synthesizer took over. I mean, I don't have anything against keyboards and synths per se, it's just that if you're going to use them, maybe you could do something more interesting than this... It's just the same, flat wheee-whush-whahh on every song. And the songs themselves aren't terribly interesting or dynamic either. Very skippable.
A Cor Do Som - see artist discography
Corisco E Os Sambaloucos "Show De Bossa" (Philips, 1963)
(Produced by Alfredo Barbe)
Pretty sedate easy-listening samba/bossa instrumentals from a competent but uninspiring band led by percussionist Waldemar Marchetti (aka "Corisco") along with Zimbo Trio pianist Hamilton Godoy... Only occasionally did anything leap out at me: a few berimbau boing-boings, a riff or two that showed some spark of life... But otherwise, this was just too sleepy for me. Didn't float my boat.
Corisco E Os Sambaloucos "Outro Show De Bossa" (Philips, 1963)
Corisco E Os Sambaloucos "Incendio No Samba" (Philips, 1965)
Kitschy, whimsical pop instrumentals, samba and samba-jazz played in a Herb Alpert-ish vibe. These might be top musicians banded together on this project, but the music is too goofy for me...
Os Coroas No Choro "Os Coroas No Choro" (RGE, 1985)
The bouncy instrumental style of choro legend, Pixinguinha, brought into the modern age. Nary a synthesizer or string section to be heard here; just the lilt of the cavaquinho and guitar. Okay, so after about five songs in a row, this may start to sound repetitive, but it's such a great sound, it's really hard to complain... Sweet stuff.
Coro De Camara Villa-Lobos "Todas As Ondas Do Radio" (Eldorado/CPC-UMES, 2000)
One of the more unusual Brazilian artifacts you'll come across... As near as I can figure, this is a liver performance by a nostalgia oriented, glee club-type organization whose goal was to recreate the experience of listening to Brazilian regional radio back in its heyday of the 1940s and '50s. There's a wide variety of styles, ranging from regional music (mostly from the Northeast) and old-fashioned samba-cancoes to tonier material such as Brazilianified versions of Bach vocal works, and a few modern MPB tunes. (Oddly enough, there are no Villa-Lobos compositions included in the repertoire... which was kind of a disappointment!) Anyway, I kept my copy just for its novelty value, but I'm not sure it would have much appeal to the casual listener... It is an odd little record, though!
Coro Dos Compositores Da Portela "Minha Portela Querida -- Sambas De Terreiro: 1972" (Odeon, 1972)
A splendid set of Carnaval compositions from the Portela samba school's 1972 lineup. Paulinho Da Viola, Candeia, Monarco and Garoto are among the better known soloists in this set; other artists include Wilson Bombeiro, Casquinha, Carlos Elias, Joaozinho da Pecadora and Norival Reis. It's a lot like the annual souvenir albums that come out from the Carnaval competitions, except with much better sound quality and a sense of unity and joyfulness that's quite a delight. Lively and engaging, and a lot of fun!
Lula Cortes & Ze Ramalho "Paebiru" (Rozenblit/Mocambo, 1974)
Northeastern rock pioneer Ze Ramalho plays various instruments on this aggressivley experimental pysch/prog/avant rock album, backing Lula Cortes of the Brazilian psych band Satwa... For many, this is a lost treasure of Brazilian acid rock; I just found it to be tremendously irritating and jaggedly textured. If your taste in jazz tilts towards improvisational "free jazz," where constantly pushing against the envelope is an end in and of itself, then this album might be a real treat... Personally, I like a little more melody. (So I'm square; sue me, daddy-o.) This is an interesting historical relic, I suppose, but I far prefer the spacy folk-rock of Ramalho's first few solo albums...
Alaide Costa - see artist discography
Carmen Costa "Serie Bis - Cantores Do Radio" (EMI-Brasil, 2000)
A soft-edged sambista whose career spans back to the late 1930s, when she worked as Francisco Alves' housekeeper, and eventually found her way onto his radio programs and into a career as a solo singer in the 1940s. Costa was one of the earliest interpreters of the great forro composer, Luiz Gonzaga, whose work she first recorded in 1942. The recordings on this 2-CD set are mostly of later vintage, from the mid-1950s, but they still capture Costa's gentleness and winsome charm. A little slushy, but worth checking out!
Carmen Costa "Embaixatriz Do Samba" (Copacabana, 1964)
Carmen Costa "Ziriguidum No Sambao" (RCA, 1971)
By the time Costa made these zippy little recordings, the bossa scene had long since peaked, the tropicalistas had reared their heads and been scattered to the winds, and the Brazilian music scene was tilting towards the baroque arrangements of the fusion-oriented MPB scene. In Carmen's world, though, it was almost as if none of it had ever happened -- this is a collection of pop-sambas of the old-fashioned variety, songs from obscure composers, mainly dating back to the 1950s and early '60s, during the famed "radio singer" years. Costa was a relic from that era, and like many of her contemporaries, she found herself framed mainly as a nostalgia act, backed by musicians who seemed to rush the material and clatter through the songs. This is worth checking out just for the historical value, but it lacks much of the subtle touch these songs required, and that Costa clearly excelled at, back in her heyday. Nice also, for its revival of songwriters whose names were buried under the musical avalanche of the bossa nova crowd.
Carmen Costa & Paulo Marquez "A Musica De Paulo Vanzolini" (Marcus Pereira, 1974)
Gal Costa - see artist discography
Yamandu Costa "Yamandu Costa" (Sony-Eldorado, 2002)
Reissued by Trama Records in 2006.
Yamandu Costa "Ao Vivo" (Abgi, 2004)
Live recording of a 2003 concert...
Yamandu Costa & Paulo Moura "Negro Del Blanco" (Biscoito Fino, 2004)
Hector Costita Sexteto "Impacto" (Som Livre, 1964)
A solo album by jazz saxophonist Hector Costita, an Argentine-born artist who moved to Brazil at the height of the bossa nova scene and worked with many of the era's best musicians, including Dick Farney, Sergio Mendes and Elis Regina, as well as more hardcore jazz players, such as Luiz Chaves, Hamilton Godoy and Hermeto Pascoal.
Fabiana Cozza "Samba E Meu Dom" (Bandeirantes, 2004)
Fabiana Cozza "Quando O Ceu Clarear " (Brazilmusica, 2008)
