Ze Pretinho Da Bahia "Na Escada Do Successo" (Som, 1973) (LP)
Really sweet, funky early '70s samba, with a feel close to what Gilberto Gil was doing around the same time... Lovely, poppy, melodic stuff!

Joao Da Baiana & Sussu "Batuques E Pontos De Macumba" (Odeon, 1957) (LP)

Joao Da Baiana & Seu Terreiro "Sarava Yemanja" (Philips, 1961) (LP)

Joao Da Bahiana/Clementina De Jesus/Pixinguinha "Gente Da Antiga" (EMI, 1968) (LP)
Wonderful! Old-fashioned choros and sambas performed by two elderly master musicians, saxophonist Pixinguinha and sambista Joao Da Bahiana, backing Clementina De Jesus, an unknown singer who, out-of-the-blue, became a national star in the 1960s. Her style of samba antigua is just gorgeous, especially when blended in with modernized touches, such as the large melodic choruses, as well as Pixinguinha's outstanding, virtuoso playing. (Note: Da Baiana's name is spelled with an "h" on this album, but it's the same guy. Ah, Brazil.)

Manoel Da Conceicao "Eu Toco E Voce Danca" (Copacabana, 1956) (LP)

Manoel Da Conceicao "...Seu Violao ...E Muito Samba!" (Polydor, 1963) (LP)
(Arrangements by Severino Filho)
A charming, though slightly goofy pop-samba album from guitarist Manoel Da Conceicao (also known as "Mao De Vaca," or "Cow Hand," in honor of his chunky but nimble paws...) This is a charming set of brisk, semi-instrumental samba and bossa tunes, spotlighting Mao De Vaca's guitar work, but also featuring a perky, uncredited female vocal chorus (sort of a mellower version of the Quarteto Em Cy sound), along with a tootling, brassy orchestral accompaniment. The guitar playing is a lot like Luiz Bonfa's work of the same period -- bright, bouncy, playful -- and while this is kind of a fluffy album, it's pretty fun. Da Conceicao also sings on one track, his own composition, "Quero Ficar So," which closes the album on a satisfying note.

Manoel Da Conceicao "Batucada Do Mane" (RCA, 1975)
(Produced by Rildo Hora)
A wonderful album by acoustic guitarist Manoel Da Conceicao, whose career as a samba player spans back to the early 1950s. His nickname, Mao De Vaca, or "Cow Hands" comes from his large, meaty hands, and from his strong, assured method of playing the guitar. This record (which was apparently his fourth solo album) radiates confidence and solidity, as well as a softness and subtle touch that makes it a delight from start to finish. There's some excellent guitar playing, with a warmth and individuality to it that makes it stand out, and also some gentle percussion and vocal backup that adds to its depth and appeal. Recommended!

Dadi "Dadi" (Som Livre, 2007)
(Produced by Daniel Carvalho)

Dadi "Ao Vivo Em Tokio" (Dadi Records, 2009)

Dadi "Bem Aqui" (Sunny Side, 2010)

Dado "Atras La Luz" (1984)
An independently released prog album...

Carlos Dafe - see artist profile

Duduka Da Fonseca "Samba Jazz In Black And White" (Zoho, 2011)

Duduka Da Fonseca "Plays Toninho Horta" (Zoho, 2011)

Nadinho Da Ilha "Meu Amigo Geraldo Pereira" (Rob Digital, 2005)

Lennie Dale & Bossa Tres "Um Show De Bossa Nova" (Elenco, 1964)
A capable -- though underwhelming -- cabaret crooner, American expatriate Lennie Dale was certainly in the right place at the right time, recording several albums with some of the top talent in the bossa-era nightclub scene. Dale sang in a Mel Torme style, mixing newly-minted bossa hits with a variety of American pop-jazz vocal tunes. Here, he's backed by the Bossa Tres jazz trio -- Luiz Carlos Vinhas (piano), Tiao Neto (bass) and Edison Machado (drums) -- who provide pretty swinging accompaniment in a warm live setting... The nightclub crowd seems very receptive to his performance, and you can sense mutual goodwill emanating both ways between artist and audience. A nice document of the times, and a good chance to hear the Bossa Tres band in full swing.

Lennie Dale & The Sambalanco Trio "...E O Sambalanco Trio" (Elenco, 1965)
Here Dale is backed by the Sambalanco Trio, which featured pianist Cesar Camargo Mariano, percussionist Airto Moreira and bassist Humberto Claiber... It's a very vigorous production, and his vocals are a little too over-the-top for me -- too emotive and robust, and a bit too kitschy. But it's real-deal nightclub bossa, a good portrait of the era, though I don't think I honestly could have sat through one of his shows... He's just too irritating. (But then again, I don't care much for '50s-era crooners like Sinatra, Torme or Tony Bennett, either, and I think that's what Dale was shooting for... So take what I say with a grain of salt.)

Lennie Dale & Trio 3D "A 3a Dimensao De Lennie Dale" (Elenco, 1967)
Still very much in the Mel Torme/Tony Bennett mode, but with a way more swinging band! Trio 3D, led by pianist Antonio Adolfo, with bassist Sergio Netto and Chico Batera on drums, provides some powerful, perky backing... Pretty fun stuff.

Da Lata "Songs From The Tin" (Ryko/Palm, 2000)
London trip-hop meets Brazilian-style easy listening in this sometimes seductive, sometimes soporific world beat mix. I gotta say, this disc grew on me. The electronic input of two UK DJs (Chris Franck of Smoke City, and DJ Patrick Forge) is pretty subtle and pleasantly muted -- several tunes, such as the dreamy "Pra Manha" have a retro-fusion feel to them that recalls Milton Nascimento's best work during his Clube Do Esquina years, with a delicate keyboard straight out of the Beth Orton songbook. As Brazilian vocalists go, Liliana Chachian didn't strike me as very distinctive, but her voice fits the vibe pretty well. Also, the Brazilian elements and the ambient touches are given equal footing, so that neither style seems dominant or gratuitous, a balance that can be difficult to strike. The mix is pretty seamless and accomplished, and in general I think Braz-ambient crossovers are definitely the wave of the future. I wouldn't mind hearing more of this stuff, though a lot of it still strikes me as too goopy.

Da Lata "Remixes" (2002)

Da Lata "Serious" (Palm Pictures, 2003)
The follow-up to their first album is pretty disappointing, or at least less elusive and alluring. The delicate balancing act of the Songs From The Tin set here gives way to a simpler, more clear-cut world-beat dance sound, it's okay, but fairly mundane by comparison. More geared towards the electronica club music crowd, and almost entirely skewed towards African influences, with the languid Brazilian touches set aside, this album seems more workmanlike than innovative or inspired. It's okay, I guess, but I found it to be a bit dull.

Rubens da Mangueira "Eu Sou Assim" (Copacabana, 1978) (LP)
(Produced by Talmo Scaranari & Paulo Rocco)

Josias Damasceno "Sabor Maca" (Dabliu, 1997)

Walter Damasceno "Bossa Ai E Mato" (Odeon, 1959) (LP)

Vanessa Da Mata "Vanessa Da Mata" (Sony Epic, 2004)
(Produced by Vanessa Da Mata, Luiz Brazil, Kassin, Liminha & Jacques Morelenbaum)
This debut album marks the emergence of a major new Brazilian talent... Da Mata's voice is simply gorgeous -- clear, crystalline, and well matched by her talent as a composer and song stylist. All but two of the songs on here were either written or co-written my Da Mata; most are credited to her alone, and she also works with several heavyweight players, including producer Liminha and BRock star Chico Cesar. Co-producer Jacques Morelenbaum happily saws away on his cello on the jaunty "Alegria," while Da Mata's supple vocals glides along, at ease in various styles.of music. There's a solid samba core to all these songs, with layers of pop, jazz, forro and a trace of electronica... Occasionally she slips into slightly cloying production, but mostly this is a magnificent, delicious album. Highly recommended!

Vanessa Da Mata "Essa Boneca Tem Manual" (Sony Epic, 2004)
(Produced by Liminha)
If you like Marisa Monte, this gal might appeal to you as well. The approach is basically the same -- an easygoing mix of melodic rock, funk and electronica, fronted by pretty-sounding female vocals. Still, I'd have to say, Monte is still the master: Da Mata's voice is a little too blase for me, and the music production is a little flat and too-perfect. The poppiness is welcome, and the record is pleasant enough, but it seems more calculated and meticulously crafted than inspired or personal. A cut above, to be sure, and fun to listen to (other than a passage or two that goes overboard...) Worth checking out.

Vanessa Da Mata "Sim" (Sony Epic, 2007)

Vanessa Da Mata "Bicicletas, Bolos e Outras Alegrias" (Sony-Brasil, 2010)

Damiao Experienca "Planeta Lamma" (1974) (LP)
If you like weirdness for the sake of weird, the experimental/inchoate folk ramblings of Damiao Ferreira da Cruz (aka Damiao) might be for you. He twangs randomly on a dull-stringed guitar (perhaps a berimbau?), toots talentlessly on a harmonica and yowls away on various half-songs, on this, the first of several dozen albums. It seems unique, but it's not: other artless auteurs have made similar records -- Jandek, Wesley Willis, Daniel Johnston -- and in some cases have prompted debates about whether it's cool or whether it's voyeuristic to listen to music made by mentally ill people, or more importantly whether it's worth your time. The answer is, I suppose, that beauty is in the ear of the listener, and for some folks this will be an undeniable, uber-authentic folk-freak gem, and for others it'll just be unlistenable chaotic ramblings. Each to their own, I say, but I really don't need to revisit this one... ever.

Luiz Da Muricoca & Nacao Keto "Candomble Da Bahia" (MusiColor, 1968) (LP)
(Produced by Diogo Mulero)
An authentic though fairly static set of religious Afro-Bahian candomble music, brusque chants backed by assertive but unbending percussion. I don't doubt the rootsiness of these recordings, but with their emphasis on a sonic barrage built on an unyielding wall of high-timbre drumming (with no lower drums like the surdo to widen the dynamic range) the tracks lack the emotionality and fluid feel of later candomble recordings from more samba-friendly artists such as Aparaceida or J. B. Carvalho, and have a field-recording feel, rather than a spooky, otherworldly allure. A couple of tracks switch things up a little and introduce a little rhythmic variety, but this one is probably of more interest to drumming students than more casual samba fans. Potent, but feels kind of academic.

D'Angelo "D'Angelo" (Equipe, 1970) (LP)
Sort of a samba-rock touchstone, this was the lone album released by organist D'Angelo, who certainly had a funkier feel than, say, Walter Wanderley or many other Brazilian keyboardists. Nonetheless, this is still a pretty easy-oriented, lounge-y set, with a few uptempo, soul-oriented tracks and a lot of softer stuff as well. I'm curious about how tapped into the "Black Rio" soul scene this guy was: he covers several Tim Maia songs and a couple by Cassiano -- was he in somebody's band or something? I'm also curious about who was backing him here: the drumming in particular seems pretty sharp. This record was re-released by WhatMusic in the 2000's, and apparently a down-and-out, totally broke D'Angelo was happily surprised when the label got in touch to give him his royalties. But, decades later, here is his legacy!

Canhoto Da Paraiba "O Violao Brasileiro Tocado Pelo Avesso" (Marcus Pereira, 1977)

Canhoto Da Paraiba "Pisando Em Brasa (Walking On Coals)" (Fantasy/Caju Records, 1993)
A dazzling all-instrumental album by a lightning-fast old-time guitar player from the northeastern state of Paraiba. This disc opens with several tour de force performances, full of astonishing dexterity and playful improvisation. Canhoto was 65 when he recorded this album, yet his playing had a facility and speed that few youngsters could hope to match. Fans of acoustic guitar work should find themselves wowed by this little gem. Recommended!

Canhoto Da Paraiba & The Zimbo Trio "Instrumental No CCCB" (Tom Brasil, 1993)

Canhoto Da Paraiba "Pedacinhos Do Ceu" (EMI, 2000)

Casquinha (Da Portela) "Casquinha Da Portela" (Luanda, 2001)

Noca Da Portela "Maos Dadas" (RCA, 1980) (LP)
A fine set of pagode samba, from songwriter Noca Da Portela, of the Portela samba school, whose songs have been recorded by Elza Soares, Chico Da Silva and others. The album features Dino 7 Cordas and Manoel Da Coneicao on guitars, filling out a bright, joyful sound, as well as special participation from two bands, Som 7 and an edition of the Velha Guarda da Portela that features escola old-timers Argemiro Patrocino and Monarco... It's a fine, fun album, with lively performances of a dozen-plus of Da Portela's compositions. Recommended!

Noca Da Portela "Samba Verdadero" (RDS, 1999)

Bezerra Da Silva - see artist discography

Monica Da Silva "Brasilissima" (Socialite Fiasco, 2010)

Moreira Da Silva "Moreira Da Silva" (BMG-RCA, 2001)
An outstanding collection of classic material from one of the legends of the golden era of samba cancao. A Rio native, Antonio Moreira Da Silva pioneered the style known as samba de breque, filled with humorous asides and allusions to the zoot-suit-ish characters known as "malandros," or bad boys. This is a reissue of an album that originally came out in 1974, gathering together a dozen prime tracks from Da Silva's RCA years, 1933-34 and '40-41. If you're looking for the real-deal old stuff, as well as music that holds up well over the years, then check this out. Plus, you even get a song about Brazil's national obsession --soccer -- called "Doutor Em Futebol," from 1941. Just whip that one out when it's World Cup time!

Moreira Da Silva "O Ultimo Dos Mohicanos" (EMI Odeon, 1963) (LP)
I'm sure at the time, to those who still paid attention to the old samba cancao style, this album may have been a big disappointment. I've seen where other writers pan it as pop schmaltz, but other than the dopey title track (a novelty number that includes bang! pow! sound effects straight out of an old Western movie), this was a pretty decent disc. Sure, the arrangements were a little too perky and simplistic, but Da Silva was still a great singer, wrapping himself around those rapid-fire tongue-twisters, and belting them out like he was really having fun. It's worth a spin!

Moreira Da Silva "Morengueira" (EMI Odeon, 1968) (LP)
At this point officially a relic, Da Silva cranked through a series of novelty songs such as "O Rei Do Gatilho" and "Malandro Em Sinuca," malandro (gangster) songs complete with comedic recitations and gunshot sound effects, or "O Ultimo Dos Mohicanos," a song he had recorded years before. Most of the songs on Side One were written by Miguel Gustavo, who seemed to specialize in this sort of stuff; on Side Two, though, he settles down into a more relaxed mode, and sings in a style closer to the old-fashioned radio days samba cancao. I wouldn't hold this up as his best work -- the comedy material in particular is a little grating -- but he still has a way of winning you over, so by album's end you're back on board. Overall, though, this album is kind of negligible.

Moreira Da Silva "Conversa De Botequim" (EMI Odeon, 1970) (LP)
Another late period album from this samba old-timer... This time he's laying off on the novelty songs and playing it fairly straight, singing songs by Billy Blanco, Noel rosa and other classic samba composers, as well as a few of his own original tunes. His vocals are laid-back and the arrangements are fairly perfunctory, but the music is charming in a low-impact way, and easy on the ears. It's like listening to a Bing Crosby album of the same era: there's nothing wrong with it and he's still got some swing in him, it just isn't as great as the music he made when he was younger.

Moreira Da Silva "50 Anos De Samba De Breque" (CID, 1999)

Moreira Da Silva "A Arte De Moreira Da Silva" (Philips, 2004)
Da Silva was pretty long in the tooth when these 1979-81 recordings came out... His voice isn't as subtle or as limber as it was decades earlier, and he sounds a bit desperate to make a strong impression. The musical backup ranges from overly muscular and "modern" to somewhat perfunctory and indifferent. It's kind of interesting, I suppose, as a footnote to the classic samba-cancao era, but his older recordings are clearly more sensuous and rewarding.

Wilson Das Neves "Juventude 2000" (Parlophone, 1968) (LP)
Jazz drummer Das Neves with a kitschy, faux-psychedelic toss-off album, aimed at cashing in on the "jovem guarda" teenpop scene, but perhaps a few years behind the times. These goofy instrumental tracks are the type of things that loungecore buffs go wild over -- Brazilianized versions of Burt Bacharach songs, neutered renditions of early tropicalia hits (such as Gilberto Gil's "Domingo No Parque"), and the like. Composer Geraldo Vespar seems to have been the driving force behind this schmaltzfest, although it must be said that drummer Neves and his crew did a pretty good job with the material. The second half of the album picks up a lot of steam, particularly on tracks such as "Tem Do" and "Joao Belo," which are actually rather vigorous and fun.

Wilson Das Neves "Som Quente E O Das Neves" (Polydor, 1969) (LP)

Wilson Das Neves "Sambi-Tropi: Ate Ai Morreu Neves" (Philips-Elenco, 1970) (LP)

Wilson Das Neves "O Som Quente E O Das Neves" (Copacabana, 1976) (LP)

Wilson Das Neves "O Som Sagrado De Wilson Das Neves" (CID, 1996)

Wilson Das Neves "As Fugas Do Sol" (UMES, 2007)

Amaro Da Souza & Haraldo De Oliveira "Saudades Do Brasil" (Arion, 1975) (LP)
A fabulous album! Half scholarly, ethno-musicological exposition, half butt-shakin' block party, this is a fab collection of instrumental tracks that run the gamut Brazilian dance styles, from thumping bass-heavy batucadas and slinky capoeira to sambas and proto-sambas like the maxixe, baiao and choro. Although true to the rhythms, Da Sousa's ensemble leans heavily towards the melody, which is just fine by me... The CD reissue features a half dozen or so extra tracks, separate from the original recordings with Da Souza's ensemble... they're a little less engaging, but certainly don't detract from the charm and vitality of the album. I love this disc!

Daude "Daude" (Tinder/Natasha, 1995)
Poppy soul music from Bahia, featuring smoothed-out, funky-drummered versions of songs by Carlinhos Brown, Caetano Veloso, and Jorge Ben. Gilberto Gil's guitarist, Celso Fonseca, plays throughout and provides several songs. When I first heard this album, I thought it was really cool hearing a Soul II Soul style mix em portuguese... But revisiting this album, I find it hasn't held up that well; now it sounds jittery and a little forced. One of the more compelling moments is her version of "Objeto Nao Identificao," a tropicalia era favorite of Gal Costa's.

Daude "Daude 2" (Natasha, 2000)

Daude "Neguinha Te Amo" (RealWorld, 2003)
A disappointing follow-up to her slinky debut... Daude's funky side is engulfed by a light, frothy, slightly dancey pop sensibility. It's a pretty lightweight mix of hiphop-tronica and Brazilian-style pop, easy on the ears and full of positive lyrics about being black, female and Brazilian... But there's a treble-heavy perkiness that can be a bit grating. That being said, by the end of the album I was mostly on board with what she was doing. It's worth checking out, though you might also find it a bit too prefab.

Daude "Simbora" (Natasha, 1999)

Ze Da Velha & Silverio Pontes "So Gafieira" (Kuarup/Biscoito Fino, 1996)

Ze Da Velha & Silverio Pontes "Tudo Danco: Choros, Maxixes E Sambas" (Rob Digital, 2001)

Ze Da Velha & Silverio Pontes "Ele E Eu" (Kuarup, 2001)

Ze Da Velha & Diplomata "Coracao Machucado" (Atracao, 2002)

Ze Da Velha & Silverio Pontes "Si Pixinguinha" (Biscoito Fino, 2006)

Marcos Davi "Criacao" (Self-Released, 2004)
A self-released album of mellow, pretty-sounding acoustic guitar music. The set is less "Brazilian" than "new acoustic," in keeping with other solo guitar work across the globe by fancy pickers such as William Ackerman, et al, with maybe just a hint of hometown heroes like Baden Powell or Laurindo Almeida. It's a little too much on the soft side for me, but quite nice if you like the style. (Available through the artist's website at: www.marcosdavi.com.br.)

Luiz Carlos Da Vila "Luiz Carlos Da Vila" (RCA, 1983)
Fine, low-key modern sambas from Luiz Carlos Da Vila, a well-respected songwriter for Cacique de Ramos, one of Rio's most prestigious samba schools, which also nurtured the talents of artists such as Jorge Aragao, Zeca Pagodinho, Almir Guineto and the band, Fundo Do Quintal. Working behind the scenes, Da Vila wrote many hits for the escola during the 1970s and '80s; this is his first solo album and while it is not as dynamic or technically polished as the albums of more popular pagode samba stars, there is a nice, relaxed, down home charm to it. Da Vila is a plainspoken, almost hesistant singer, but his lack of bravado is one of his most appealing traits -- instead, what you hear in his voice is his enthusiasm and emotional connection to the songs. All the musicians backing him up are samba school pros, along with MPB veterans such as guitarist Rosinha De Valenca, drummer Wilson Das Neves and samba star Martinho Da Vila, who produced the album, and sings one one song. Nice stuff...!! (The CD reissue includes two bonus tracks, taken from a single released around the same time...)

Luiz Carlos Da Vila "Um Cantar De Vontade" (Musart)

Luiz Carlos Da Vila & Jorge Claudio "Matrizes" (19--?)

Luiz Carlos Da Vila "A Luz Do Vencedor: Luiz Carlos Da Vila Canta Candeia" (CPC-Umes, 1999)

Luiz Carlos Da Vila "Benza Deus" (Carioca Discos, 2004)
Another excellent old-school samba set of the 1970s/'80s pagode style, reminiscent of classic work by Brazilian stars such as Clara Nunes, Martinho da Vila and Joao Nogueira, packed with sweet melodies, compelling rhythms, warm lead vocals and a cheerful backing chorus. Apparently this was recorded and released after Da Vila underwent cancer treatment and is partly an affirmation of life, following his ordeal. All songs were written or co-written by Luiz Carlos Da Vila, along with other talented artists such as Wilson Das Neves, Moacyr Luz and others. If you like old-fashioned roots samba (or "samba raiz") you'll love this album. Highly recommended

Martinho Da Vila - see artist discography

Mano Decio Da Viola "Capitulo Maior Da Historia Do Samba" (Tapecar, 1974) (LP)
A founding member of the Imperio Serrano samba school, Mano Decio Da Viola (nee Decio Antonio Carlos) was a popular Bahian-born samba musician, known as the composer of several hundred sambas songs. This is one of three LPs he recorded in his long career...

Mano Decio Da Viola "O Legendario" (Polydor, 1976) (LP)

Mano Decio Da Viola "O Imperador" (CBS, 1978) (LP)

Paulinho Da Viola - see artist discography

Aracy De Almeida - see artist profile

Dalva De Andrade "Serie Bis - Cantores Do Radio" (EMI-Brasil, 2000)
A 2-CD retrospective of one of the more syrupy and overwrought singers in this otherwise groovy series, Dalva De Andrade had a more typically "pop" style than many of the Brazilian radio singers, closely informed by North American jazz influences. So far I haven't found this set to be that riveting, but if I modify my opinion, I'll be sure to let you know.

Djalma De Andrade - see: Bola Sete

Joao De Aquino/Simone/Roberto Ribeiro "A Bruxelles" (EMI-Odeon, 1973) (LP)
A live album, split between Simone and old-school sambista Roberto Ribeiro. Guitarist Joao de Aquino, a cousin of the legendary Baden Powell, made his debut here, although for several years he had been playing guitar with a number of big-names players, including sambistas such as Carlos Cachaca, Candeia, Cartola, Dicro, and Monarco, as well as numerous jazz and MPB stars.

Joao De Aquino/Simone/Herminio Belo De Carvalho "Festa Brasil" (EMI-Odeon, 1974) (LP)

Joao De Aquino "Violao Viageiro" (Odeon, 1974) (LP)

Joao De Aquino "Terreiro Grande" (Epic, 1978) (LP)

Joao De Aquino "Asfalto" (Epic/CBS, 1980) (LP)

Joao De Aquino & Maur’cio Carrilho "Joao De Aquino E Maur’cio Carrilho" (Tempero, 1986) (LP)

Joao De Aquino "Patua" (Leblon, 1991)

Joao De Aquino "Carta Marcada" (Leblon, 1994)

Joao De Aquino "Bordoes" (Top Voice, 1996)

Joao De Aquino "Sabor" (MEC, 2003)

Joao De Barro/Various Artists "Nasce Um Compositor" (Revivendo)
Beautiful music! One of the early samba cancao greats, Joao De Barro (aka Carlos Braga, or Braguinha, as he was also nicknamed) formed the Banda Dos Tangaras with fellow composer Noel Rosa, and together they pioneered the new popular style. Braguinha had a gorgeous voice, best highlighted on the opening tracks of this album... Also quite striking is the shimmering guitar accompaniment, which has a haunting similarity to Portuguese fados or the mornas of Cape Verde. The style shifts quickly into rollicking music hall singalongs and more ornate sambas, all of which is quite captivating. This CD features many artists of the 1930s, including Francisco Alves and Alvinho, but also has several recordings featuring Braguinha by himself, and as part of Banda Dos Tangaras. His most famous tune, "Carinhoso," isn't on here, but you'd hardly notice with all the other great songs that are included. Great stuff -- highly recommended!

Joao De Barro/Various Artists "Braguinha: 100 Anos De Alegria" (Revivendo)

Joao De Barro/Various Artists "CARNAVAL - SUA HISTORIA, SUA GLORIA, v.19" (Revivendo)
More great music from composer Joao De Barro... This disc starts off a bit more riotously than the Nasce Um Compositor collection, but continues past the golden years of the 'Thirties up through the tropicalia and MPB years, with versions of De Barro's work by young'uns such as Maria Bethania, Gal Costa, and Caetano Veloso. Nice stuff... but does PolyGram know about this?? Well, now at least you do!

Joao De Barro "Joao De Barro" (RCA, 1972)
Early in his career, De Barro gave up performing in favor of full-time songwriting, and had stopped recording altogether for many years. He came out of "retirement" in '72 to record this somewhat glitzy album with Radames Gnattali at the helm as arranger. De Barro reprises many of his old classics, still withthe same chugging rhythms and propulsive horn arrangements, just with a smoother, more modern sound. In a way, it's kind of classy, but it also seems a little sedate. Half the fun of his old recordings is that, well, they were old recordings... Here things are just modern and safe enough that the spark and fire seem to be largely absent. This is okay, but it ain't great.

Raul De Barros "Brasil, Trombone" (Marcus Pereira, 1974)

Raul De Barros "O Som Da Gafieira" (CID, 1979) (LP)
A perky, disco-tinged update of the classic big band-influenced jazz/samba "gafieira" style, with solid arrangements and performances by trombonist Raul De Barros (1915-2009) who was well into his sixties by the time this album came out... Fake "live" ambience and applause are mixed in to evoke gafieira's nightclubby origins, while also adding to the album's cheery, partying vibe. Although there are disco-y production touches, they are relatively restrained... Overall, a pretty fun record, and a nice touchstone for anyone trying to track down some of this now-obscure style, or to find out more about De Barros, whose career stretches back several decades.

Raul De Barros "O Trombone De Ouro" (CID, 1983) (LP)

Fafa De Belem - see artist profile

Guilherme De Brito "Guilherme De Brito" (Eldorado)

Guilherme De Brito "Samba Guardado" (Lua Music, 2007)

Guilherme De Brito & Trio Madeira Brasil "A Flor E O Espinho" (Lua Music)

Bobby De Carlo "20 Super Sucessos" (Sony, 2002)

J. B. De Carvalho "Terreiros E Atabaques" (Todamerica, 1958) (LP)

J. B. De Carvalho "Batuque" (Philips, 1962) (LP)

J. B. De Carvalho "...Apresenta Oxossi: Pena Branca" (Continental/Disco Lar, 1969) (LP)

Bobby De Carlo "Bobby De Carlo" (Mocambo, 1967) (LP)

Max De Castro "Samba Raro" (Trama, 2000)
The debut album by Max De Castro, son of samba-soul pioneer Wilson Simonal, and brother to Trama labelmate Simoninha... Haven't heard this one yet, but I'm definitely curious. I'll keep you posted.

Max De Castro "Orquestra Klaxon" (Trama, 2002)
A canny, soulful, impressive mix of styles... Rio hipster Max De Castro sails through hip-hop, jazz, modernized samba, soft-soul and clubby electronica, all with equal ease. The disc is paced like a fine, mellow set by a knowledgable club DJ, but it's from real performances that call on the talents of numerous luminaries in a variety of Brazilian styles. For example, on the jazz cut, "O Nego Do Cabelo Bom," he jams with old-school Braz-jazzers Wilson Das Neves and J.T. Mierelles; other guests include singers Paula Lima and Patricia Marx, as well as co-songwriters Nelson Motta and Seu Jorge. De Castro lays claim to Brazil's pop-rock past, calling his music "jovem vanguarda," and backs it up with contributions from teen-scene old-timers Erasmo Carlos and ex-Mutante Liminha. It's a pretty impressive lineup, not to mention the horde of younger, fresh-faced players that form the core of his band, notably percussionist Fred Prince... Much of this album intersects styles that I don't like -- particularly modern R&B and club music -- but nonetheless I found it consistently fresh and engaging. Definitely worth checking out!

Max De Castro "Max De Castro" (Trama, 2005)

Max De Castro "Balanco Das Horas" (Trama, 2006)

Ney De Castro "Percussions Brasiliennes" (Le Chant Du Monde, 1963) (LP)
If you're the kind of person who gritted your teeth during all those interminable drum solos in 1970s rock music, then you may wish to steer clear of this album. Although De Castro includes native agogo and reco-reco percussion, the bass-heavy surdo is notably absent, and plain old snare drums dominate this album. (The first side of the original LP includes percussionists Aroldo De Oliveira, and Dimas Sedicias on various instruments, while Side Two exclusively spotlights De Castro. The album was originally released in 1963 under the title Brasilia An 2000: Rythmes A Gogo Par Ney de Castro, but subsequently reissued as Percussions Brasiliennes.) Some riffs are way cool, but the record bogs down in stylistic repetition, and a continuous subliminal flirtation with jazz drumming style. Close, but not quite.

Ney De Castro "Ney E Seu Ritmo" (Opp Records, 1968) (LP)
This second album was released on the obscure and short-lived Opp label, with Ney De Castro weaving regional and popular material into his jazz-percussion repertoire. The set includes two Humberto Teixiera compositions, notably "Asa Branca," as well as several covers of contemporary rock/tropicalia and MPB classics such as "A Banda" and "Sonho De Carnaval" by Chico Buarque, Gilberto Gil's "Louvacao" and "Mamae Passou Acucar Em Mim," from ie ie rocker Carlos Imperial, as well as a few tunes from the worlds of Brazilian samba and jazz, as might be expected.

Decreto A Lei "Decreto A Lei" (1993)

Miguel De Deus "Black Soul Brothers" (Copacabana, 1977) (LP)
Funky music, terrible singer. I mean, like, the backing band is really in a deep groove, and De Deus is really, really annoying -- terrible tone, grating personality, and a total spazz. I bet it was a lot of fun seeing him live -- it's a very high-energy performance -- but on wax, it's too manic and un-melodic for me, even worse than Tim Maia or most of the other Brazilian soul singers. Apparently this was his only solo album of his career, although earlier he recorded with the rock bands Os Brazoes and Assim Assado. I have to say, that while I find his singing to be irritating, the record itself is definitely a historical gem... If you're seriously checking out classic Brazilian funk, this is a record you'll want to track down.

Laercio De Freitas "...E O Som Roceiro" (CID, 1972) (LP)
An irreverent, unusual album from MPB/fusion jazz pianist Laercio De Freitas, a popular accompanist and studio player throughout the 'Seventies. What's atypical about this album is the heavy dose of nuyoriquan-style Latin dance grooves woven throughout; De Freitas clearly had listened to a bunch of early '70s salsa and '60s boogaloo records, and greatly enjoys playing in the style with his Brazilian cohorts. My initial reaction to this disc was that it was too goofy and blithe, but the free spirit of the session grows on you: these guys were having a lot of fun, and that feeling comes through loud and clear. The freewheeling vibe sometimes overwhelms the music, in a let's-have-a-party way, sort of like a jazz world equivalent to what Os Mutantes were doing on the rock scene. Several tracks, though, are pure groove, songs such as "Pirambera" and "Rasta Pe" (a Brazilian cumbia tune!) De Freitas gets particularly kooky on a jaunty cover of the samba-cancao oldie, "Alo Alo" and on a cover of Caetano Veloso's "Chuva Suor E Cerveja": he also plays some great piano riffs, and it's cool to hear him improvise over samba rhythms the way Cuban musicians do over traditional son patterns. A nutty record, but a cool one, too. Definitely worth checking out.

Laercio De Freitas "Sao Paulo No Balanco Do Choro" (Eldorado, 1980) (LP)
(Produced by Armando Aflalo & Aluizio Falcao)
A spunky, all-instrumental set that reflects the broad range of De Freitas's work as a sideman (and as a composer: he wrote all but one of these ten tracks...) The album opens with "Ao Nosso Amigo Esme," a modern fusion tune that some acid jazz fans might call a "groover," featuring De Freitas laying down some perky organ riffs. More to my liking are the acoustic choro tunes where he lets the cavaquinho player (Xixa) and the bandolim (someone called "Carlinhos") cut loose. The funky stuff seems too trapped in a particular era and technology, while the choros sound more timeless. But it's certainly worth checking out, whatever style you prefer.

Laercio De Freitas "Terna Saudade" (L'Art, 1988)

Laercio De Freitas "Instrumental No CCBB" (Tom Brasil, 1993)

Laercio De Freitas "Homenageia Jacob Do Bandolim" (Maritaca, 2006)

Thalma De Freitas "Thalma" (EMI/Cardume, 2004)

Thalma De Freitas "Thalma De Freitas" (EP) (EMI/Cardume, 2004)
Very nice! The daughter of '70s MPB/jazz fusion keyboardist Laercio De Freitas, Ms. De Freitas has a gorgeous voice, with crystal-clear tone and very precise diction; she glides atop these light, funky tunes, an easygoing, jazzy mix crafted by her father (who plays throughout) and modern indie-popster Kassin (perhaps best known for his work with Moreno Veloso). Kassin contributes the centerpiece of this 6-song EP, a light, bouncy, irresistible rumba-flavored tune called "Tranquilo." Her father's touch is heavy on the rest of the record, which is as much a showcase for his keyboards as it is for her voice, and drifts into some jazzy flights that recall Gal Costa's funkier albums of the mid-1970s. Veteran bassist Bebeto and drummer Wilson Das Neves round out this compact ensemble -- this disc is short, but it's sweet -- one of the best new Brazilian records I've come across in quite some time! (Also see: Orquestra Imperial)

Hamilton De Holanda "Hamilton De Holanda" (Velas, 2002)

Hamilton De Holanda "Musica Das Nuvens E Do Chao" (Velas, 2004)

Hamilton De Holanda Quintet "Brasilianos" (Adventure Music, 2006)
An all-instrumental straight-jazz set, with deep moorings in the Brazilian choro style... Plenty of flashy playing, particularly on De Holanda's mile-a-minute mandolin picking. There's also a lot of jazz harmonica work, which is admittedly an acquired taste... But for folks who are into Toots Thilemanns or Rildo Hora, the harp work of Gabriel Grossi (heard here playing lead on several tunes) is right in that tradition... Overall, it's too aggressive and headstrong a set for me, although there are some softer, more subtle tunes as well, such as "Small Country Train..." Guitarist Daniel Santiago, who has some records out as well, also plays throughout. Almost all of the tunes are originals; three tracks apparently have lyrics from Brazilian alt/rocker Zelia Duncan, although De Holanda sticks to instrumental versions here...

Hamilton De Holanda & Mike Marshall "New Words/Novas Palabras" (Adventure Music, 2006)
A strong, playful collaboration between Brazilian mandolinist Hamiltom De Holanda and American bluegrass mandolinist Mike Marshall, who has become a convert to the jazzy Brazilian choro style, which also features dynamic virtuoso flights of instrumental prowess. The repertoire on this delightful set mixes some bluegrass and newgrass tunes into the choro standards; classics by Jacob Do Bandolim and Pixinguinha are lined up alongside by newgrass-jazz tunes by Marshall and Bela Fleck, as well as that oldie-but goodie, "Blackberry Blossom," which is a fine showcase for both picker's zipping along full-throttle. The introduction of Appalachian music into the choro scene should raise a few eyebrows, although I have to confess I was expecting more of a cross-cultural mash-up, once Marshall and De Holanda really got going. Nonetheless, there's plenty of dazzling and lyrical playing here, and Marshall's interest in Brazilian acoustic music shows no sign of abating... Thank goodness, 'cuz he's making some really fine music! This set includes a bonus disc of video material which gives some sense of the giddy, competitive showmanship that is the underpinning of traditional choro. Recommended!

Hamilton De Holanda "Intimo" (Adventure Music, 2007)
A lovely all-instrumental album by Brazilian bandolim (mandolin) player Hamilton De Holanda, performing (as the album title implies) an intimate set of solo meditations on various bossa nova and samba-cancao standards. Classics by Tom Jobim, Chico Buarque, Dorival Caymmi, Noel Rosa and others share space with a trio of original tunes by De Holanda, all played at a creeping, unhurried pace, sort of a subtle, slowed-down version of the normally breakneck choro style. De Holanda's jazz background comes into play in the soft, improvisational nature of these recordings, which were made without formal arrangements, just a talented player and a 10-string mandolin, lingering lovingly over some favorite songs. Very nice -- jazz, choro and new acoustic fans will find a lot to appreciate about this gentle, inventive album.

Hamilton De Holanda & Andre Mehmari "Continua Amizade/Continuous Friendship" (Adventure, 2008)
(Produced by Hamilton De Holanda & Andre Mehmari)
A classy collaboration -- sometimes reserved, sometimes playful -- between Brazilian bandolim whiz Hamilton De Holanda and classically trained pianist Andre Mehmari. The set slips between slowed-down samba and choro tunes, avant-classical themes and tandem, whirlwind jazz flights in which the two instruments interlock and cavort at dizzying speeds. It's both technically impressive and soulful with many original compositions an a real sense of joyfulness and adventure. De Holanda is emerging as one of the finer improvisational artists of his era...and this piano guy ain't no slouch, either! Definitely worth checking out.

Clementina De Jesus - see artist discography

Sonia Delfino "Canta Para A Mocidade" (Philips, 1960) (LP)
A jovem guarda teenybopper rock set, featuring Rio-born singer Sonia Delfino (nee Sonia de Campos Veras) who was apparently the niece of samba/bossa singer Ademilde Fonseca. Born in 1942, she recorded three albums, then quit her musical career after getting married.

Sonia Delfino "Alo Broto " (Philips, 1961) (LP)

Sonia Delfino "Alo Broto #2" (Philips, 1962) (LP)

Delio E Delinha "Prenda Querida" (California, 19--?)

Delio E Delinha "O Casal De Onca De Mato Grosso" (California, 19--?) (LP)

A lovely set of classic sertanejo music by a duo from Mato Grosso who were performers on Radio Bandeirantes. This album is quite pleasant, with the rich, softer-toned production style that seems to have predominated on the Sao Paulo-based label Discos Musicais California. The vocal harmonies are quite nice, and the modest accompaniment has a nice, bouncy feel, predominated by a lilting accordion, along with a thumping bass and a bit of swooping Andean harp. This seems to have been their second album -- the pair are proudly posed on the front cover holding copies of their previous LP and one of the fifteen 78rpm singles mentioned in the biographical notes on the back. Alas, there are no credits for the musicians backing them, though it was a pretty solid band

Delio E Delinha "A Dupla Coracao De Mato Grosso" (California, 19--?) (LP)
(Produced by Mario Vieira)

Delio E Delinha "Na Chantecler" (Chantecler, 1970-?) (LP)

Dellano "A Voz Do Samba" (Columbia, 1985) (LP)

Dellano "Forca Do Amor" (RGE, 1987) (LP)

Dellano "Nova Charma" (RGE, 1989) (LP)

Helena de Lima "...E A Banda Da Policia Militar Do Estado Da Guanabara" (1967) (LP)

Demonios Da Garoa "Saudosa Maloca: Nos Sambas De Adoniran Barbosa" (Odeon, 1957) (LP)
A delicious, mellow samba set with relaxed group vocals and spare accompaniment -- subtle percussion and swaying, gentle cavaquinho. This eight-song album is a tribute to songwriter Adoniron Barbosa, and the songs are all first-rate samba-cancao, drenched in forlorn, wistful saudade. The vocals are great, too, blending fine harmonies with richly expressive emotion. I could listen to this stuff endlessly... highly recommended!

Demonios Da Garoa "Eu Vou Pro Samba" (RCA, 1965) (LP)
Good-natured, perky group vocals which stand somewhere midway between older Brazilian "radio singer" ensembles of the 1940s, like Os Anjos Do Inferno, and slicker vocal groups such as Os Cariocas, who in the 1960s took on the Americanized trappings of crewcut groups like the Four Freshmen. This is a fun record, a bit conservative given the bossa trend of the time, but full of pep and bonhomie. This Sao Paulo ensemble was first formed to sing the music of composer Adoniran Barbosa, but also recorded songs from several other composers. Their singalong chorus style prefigures the similar (but enlarged) coros of the '70s acoustic pagode groups. Not spine-tinglingly great, but certainly worth checking out.

Demonios Da Garoa "Esses Divinos" (EMI/Copacabana, 1998)
Even with the minimal artwork, this turns out to be a rather nice little record... Elegant, ebullient acoustic samba music, with strong arrangements and heartfelt performances that easily buoy the aging vocalists. Recommended.

Demonios Da Garoa "Mais Demonios Que Nunca" (Trama, 2000)
An amiable mix of old-fashioned Brazilian group vocals (ala Os Cariocas and MPB-4) and gentle, subtle, cavaquinho-led acoustic sambas. As a whole, this album is fairly static, without much variation from song to song... but the basic sound is so nice, it'll take a while before you want to move on to something else. I couldn't tell, at a casual glance, how many of the group's current members are from the original '60s band, but if I find out, I'll letcha know. In keeping with the band's historical roots, all the songs on here were written by samba composer Adoniran Barbosa.

Demonios Da Garoa "60 Anos - Ao Vivo" (Dabliu, 2004)
Another fine set of velha guarda samba music, recorded live in 2003 at a venue in Sao Paulo. These old-timers are still going strong, and if anything, this live recording surpasses recent studio recordings... It's captivating and enjoyable from start to finish. Recommended!

Demonios Da Garoa "Serie Raizes Do Samba" (EMI, 2005)

Demonios Da Garoa "Serie Bis" (EMI, 2000)

Vinicius De Moraes - see artist discography

Luiz De Moura Castro "Flor Amorosa: Aires y Danzas Del Brasil" (Ensayo, 1990)
Brazil's pre-samba, formalist classical tradition is explored on this pleasant, sometimes brisk set of piano solos and duets. De Moura Castro, who was a student of composer Francisco Mignone, surveys the work of Osvaldo Lacerda, Camargo Guarnieri, Ernesto Nazareth, Oscar Lorenzo Fernandez and others, 19th and early 20th Century composers who, like the renowned Heitor Villa-Lobos, took popular forms such as the tango and valse and infused them with a nativist Brazilian sensibility. Although the performances seem a little brusque at times, this is a marvelous record for anyone looking to dig deeper into Brazilian musical roots. Worth checking out!

Sandra De Sa - see artist profile

Carolina Cardoso De Menezes & Orlando Silveira "Honeymoon In Rio" (Capitol, 1956) (LP)

Demetrius - see artist discography

Dende & Hahahaes "Bahia De Todos Os Santos" (Mamadele Productions, 2005)
(Produced by Manfred Knoop & Chris Sulit)
A poppy showcase for Brazilian expatriate Dende, a percussionist and singer originally from the band Timbalada, now living in New York... As the title implies, there's a strong Bahian thread here, but more unusually there are strands of Afro-Cuban salsa, contemporary Caribbean and African pop. It's a little cheery and lanyard-wearing for me, but I bet they are fun live... Along with various other East Coast expats, this album features contributions from Vinicius Cantuaria (on the song "Sinaleira") and Duke Amayo, from the afrobeat band Antibalas. Worth a spin if you're into crossover-oriented "world beat" dance music.

Denilson "Meu Idioma E Samba" (Chantecler, 1976) (LP)
(Arranged by Jose Briamonte)

Deny & Dino "Coruja" (Odeon, 1966) (LP)
(Produced by Tony Campello)
Consistently fun; this teen-oriented pop-rock record is a minor gem from the jovem guarda era. JG veteran Tony Campello produced this album, and as is often the case, he proved much more savvy and sympathetic in presenting American-style rock than did the old-guard samba and radio singer-era producers who cranked out so many other jovem guarda releases. Although Deny & Dino cover "Girl" (translated by Ronnie Von as "Meu Bem"), the shadow of the Beatles is surprisingly light here... More striking is their version of "As Tears Go By," which hits just the right emotional tone, as do many of Deny & Dino's jangly original tunes. The Searchers, The Hollies, and Jan & Dean seem like their main models -- softer, harmony-oriented pop with much more subtlety and depth than the Big Bopper-meets-Mancini toss-offs that cluttered the JG scene. Seriously, this is one of the best jovem guarda albums I've heard yet... Worth checking out!

Deny & Dino "Deny & Dino" (Odeon, 1967/2005) (LP)
(Produced by Milton Miranda)
Considering the freshness and groovy feel of their pleasant debut, this disc was a big disappointment. Deny & Dino still look incredibly hip and happening, with their muttonchops and goatees, but the arrangements on this album are more staid and forced than before, a reversion to the out-of-touch pop sensibilities of Brazil's old-school studio heads... Tony Campello stepped aside and the electric guitars went with him -- greater prominence is given to chugging brass samba beats and string sections, pretty much the same old stuff that other JG records suffered with. Which isn't to say this record sucks... It's still pretty good, but it isn't fun the way the first one was, and it isn't as listenable from start to finish. Here you have to hunt and peck for the good songs, though while there is a newfound measure of tedium, the cool stuff is still pretty cool. The bonus tracks on the 2005 CD reissue add a lot, particularly the groovy, spacey "Coisas Que Acontecem Sempre," which now closes the album. Worth checking out, but in comparative terms, a bit of a downer.

Deny & Dino "Deny & Dino" (Odeon, 1969) (LP)

Deny & Dino "Serie Bis -- Jovem Guarda" (EMI, 2000)

Eumir Deodato - see artist discography

Agenor De Oliveira "Bafafa" (Rob Digital, 2002)

Agenor De Oliveira "...Canta Noel Rosa" (Tratore, 2005)

Agenor De Oliveira "E Banto" (Joaninha, 2006)

Aloysio De Oliveira "Cantem Conosco Com O Coro Odeon" (EMI-Odeon, 1960) (LP)
Best known as a fabled arranger and record producer, and as the founder of the influential Elenco record label, Aloysio De Oliveira (1914-1995) had a performing background as part of the samba-cancao group, Banda Da Lua, and as Carmen Miranda's bandleader when she emigrated to the USA. Here, he steps out of the studio booth and returns to the microphone for a set that mostly includes oldies and traditional tunes... The accompaniment is a little lethargic, with modest percussion, a tootling accordion and an earnest, large male chorus that evokes a college glee club choir more than, say, the Four Freshmen. De Oliveira seems content to hide behind their booming, resolutely square vocal arrangements -- he doesn't emerge as a soloist and the record never really takes off, remaining sedate and melodically flat throughout. The album's an interesting historical curio, but I wouldn't go koo-koo trying to track it down. Probably the most intriguing track here is an early version of Tom Jobim's foundational bossa nova tune, "Chega De Saudade." (De Oliviera produced the original, earth-shattering single with Joao Gilberto, the year before...) Sadly, though, this version is just as stuffy and static as the rest of the record, but it's still kind of cool, in an archival kinda way.

Dalva De Oliveira - see artist profile

Idalina De Oliveira "Idalina" (Chantecler, 1964) (LP)
Teenybopper stuff, along with more mainstream pop vocals from a jovem guarda-era TV personality. Sort of in the same range as Annette Funicello or Connie Francis; one of those younger singers who got saddled by sluggish, over-sized pop-orchestral arrangements, as well as some fairly square material. Features a few songs by Nelson Luis, as well as the normal adaptations of foreign pop hits you'd expect from the era, such as Guy Warren's "That Happy Feeling," and a random Felice & Boudleaux Bryant ballad. Apparently this was her only album; the backing band is identified as the "Orquestra Chantecler," with Elcio Alvarez and Francisco Moraes conducting. Nothing earthshaking, but nice in a kitschy-nostalgic way.

Wilma De Oliveira "Tribute To Carlos Lyra" (Sony, 2005)
An homage to pioneering bossa nova composer Carlos Lyra...

Consuelo De Paula "Samba, Seresta & Baiao" (Dabliu, 1999)
(Produced by Dino Barioni)
A gentle exploration of several acoustic styles... For want of a better vocabulary, I'd have to say that De Paula has a sort of classic "folk" flavor to her sound; although this music is solidly Brazilian, there's also a hint of Judy Collins floating around in there. Closer to home, she also shares a winnow-y similarity to Gal Costa, if Costa were to stick to more traditional material. Pleasant to hear, and also a bit unusual in its approach... worth checking out.

Consuelo De Paula "Tambor & Flor" (Tratore, 2002)

Consuelo De Paula "Danca Das Rosas" (Tratore, 2004)

Consuelo De Paula "Patchwork" (Koala/Tupiniquim, 2008)

Irio De Paula "Sozinho" (Philology, 1995)

Irio De Paula "Jazz-Samba Ao Vivo" (NelJazz, 1997)

Irio De Paula "Sarava Jobim" (Pacific Time, 2000)
Tom Jobim's canonical compositions get an extra-gooey workthrough, with guitarist De Paula -- who has worked with several major jazz players, including Chet Baker, Gato Barbieri and Eumir Deodato -- leading a mellow ensemble, augmented by string arrangements worthy of the master. In some ways, this is a bit much, but also quite inviting. Depends on your tolerance for "easy listening," I suppose... But I think this is well within the tradition set down by the master, and Jobim fans will probably thrill to the interplay of the guitar and Riccardo Ballerini's sprightly arrangements. Not bad!

Irio De Paula "Sem Batera: 2002" (Azzurra, 2002)

Irio De Paula "Amigo Baden" (Azzurra, 2002)

Irio De Paula "Samba Jazz" (Azzurra, 2007)

Irio De Paula "Viajando" (Azzurra, 2007)

Irio De Paula "Retrato Do Rio" (Blue Music, 2007)

Roberto De Recife "Satisfacao" (Philips, 1981) (LP)
Mildly "new wave" rock, with power-poppy hand claps and ringing guitars. That description may actually sound more enticing than I'd like, but all things considered, this album actually isn't as horrific as one might imagine. Kinda borderline, which, for Brazilian MPB of the time, can be taken as high praise.

Roberto De Recife "Jardim De Infencia" (Philips, 1981) (LP)

Sandra De Sa - see artist profile

Wanda De Sah - see "Wanda Sa"

Carlos Monteiro De Souza "Metais Em Brasa Bossa Nova" (Philips, 1963)

Carlos Monteiro De Souza "Pra Frente" (Parlophone, 1968) (LP)
Pure easy listening cheese. And there's no way you can convince me otherwise. If you really like muzak -- the hard stuff -- then by all means subject yourself to this one. It's pretty horrid, though. Super-cheesy organ with generic bossa backup, although there's a good acoustic guitarist caught in the middle, adding perky riffs, but unable to redeem the album. Trust me: you can skip this one.

Gilson De Souza "Poxa" (Tapecar/Discobertas, 1975) (LP)
(Produced by Luiz Mocarzel & Wilson Mouro)
A classic '70s samba/MPB album from Brazilian pop songwriter Gilson De Souza, who made his mark when crooner Jair Rodrigues recorded his song, "Orgulho De Um Sambista" on his (super-fab) album of the same name. The big hit here was the song "Poxa," one of many tracks with an intriguing mix of standard-issue pagode samba stylizations (cavaquinho, percussion, vocal chorus) and sleek, tony pop/MPB touches (prominent string arrangements, woodwinds, electric bass, etc.) bonded together by De Souza's thin, light vocals and, of course, his richly-layered songwriting, and his knack for catchy choruses. At first I was a little taken aback, but this grew on me. Definitely a welcome reissue!

Raul De Souza (Raulzinho) "A Vontade Mesmo" (RCA, 1965) (LP)
I'm sure the role of the trombone as a lead instrument has been a constant source of contention among jazz fans, but I have to say that it doesn't do much for me here. Still, this is the bandleading debut of one of Brazil's most successful mainstream jazz players, Raul De Souza, who later emigrated to the US and became a leading session player. Here he works through a primarily homegrown set, including one of his own early compositions alongside material by the likes of Tom Jobim, Carlos Lyra and (for exotic effect) Duke Jordan. I'm no jazz critic, but this album mostly strikes me as a bit unsubtle and overly energetic. Also on board are many of the early leading lights of Brazil's jazz scene, including pianist Cesar Camargo Mariano and percussionist Airto Moreira, who kicks in with some nice Cuban-flavored percussion.

Raul De Souza (Raulzinho & Impacto 8) "International Hot" (Equipe, 1968) (LP)
A pretty funky set from an American-style party band whose sound never quite clicked with Brazilian music fans... Trombonist Raul De Souza led this soul-oriented octet, which also featured drummer Robertinho Da Silva, organ player Helio Celso and saxophonist Oberdan Magalhaes (later of Banda Black Rio). The "Black Rio" soul sound hadn't really hit Brazil yet, so these guys were kind of shooting in the dark... But it's a fun set, a mix of earnest funk and deliberate kitsch... They covered hits like "Spinning Wheel" and "You've Made Me So Very Happy," alongside giddy instrumentals with titles like "Fried Bananas" and "Cantelope Island." It's goofy, but better than I had expected... Worth checking out.

Raul De Souza "Rio" (Trama, 1998)

Raul De Souza "No Palco!" (Eldorado, 2000)

Rosalia De Souza "Garota Moderna: Nicola Conte Apresenta Rosalia De Souza" (Leeds Music/Avatar, 2003)
Many folks hail young Ms. De Souza as a new Bebel Gilberto, an electronic/trip-hop crossover diva... But while there are a few electro beats on some of these songs, I'd peg her as more akin to jazz-MPB queen Elis Regina, tackling bossa nova oldies and more modern compositions (many courtesy of Italian album producer Nicola Conte) with a brash, headstrong approach, subsuming many of the melodies to a propulsive, muscular sensibility. Works for me, mostly -- she has a nice enough voice and the arrangements are often new enough that you don't feel you're hearing just another bossa standards album. Again, I didn't think this was particularly clubby or danceable, but hey -- what do I know? I'm sure the remix record can't be far behind... In the meantime these relatively straightforward, well-produced renditions will suit most folks just fine. Worth checking out!

Rosalia De Souza "Garota Diferente" (Schema, 2004)
Remixes of the Garota Moderna album...

Rosalia De Souza "Brasil Precisa Balancar" (Schema, 2006)

Rosinha De Valenca - see artist discography

Os Devaneios "Devaneando" (Master Sound, 19--?) (LP)
(Produced by Nelson Trigueiro & Nivaldo Duerte)
To be perfectly honest, this is completely negligible, downtempo instrumental music with a slight pop/rock tinge, sort of like Roberto Carlo's RC7 but without any real pep or pizazz. The organist who leads this ensemble is capable of fairly complex melodies, but plays without much bounce or flair, while the rhythm section and electric guitarist sound like a particularly lethargic wedding band. The saxophonist, who rarely solos, was inept. This must be an early edition of the band, as they apparently stuck together throughout the '70s and cut at least one record I've seen described as a "samba soul" album, a claim that makes me skeptical, although I'll reserve judgement until actually hear it. This one, though? You can skip it. It's pretty mediocre.

Os Devaneios "Embalo Diferente" (EMI, 1978) (LP)

Os Diagonais "Os Diagonais" (CBS-Epic, 1969) (LP)
A fun set of Brazilian pop-soul, with a youthful, cheerful vibe. This Rio-based band featured several key players in the burgeoning "Black Rio" soul scene, notably singer-guitarist Hyldon Souza and singer-songwriter Cassiano. In the late '60s, they backed Tim Maia, who was perhaps the most influential of the Brazilian soul singers. This was the band's first full-length album, recorded after they had been together several years and recorded a few singles, and has kind of an Arthur Conley-ish feel... Not quite all-out funky, but close. Personally I find this a lot more enjoyable than their later work in the 1970s (particularly Cassiano's) where the music got pretty overbaked. Here, it's still all fresh and earnest, and not too serious or syrupy. Definitely worth checking out.

Os Diagonais "Os Diagonais (Cada Um Na Sua)" (RCA, 1971) (LP)
This was the second and last album by Os Diagonais... Several of the songs on this disc were written by Cassiano, whose own solo career stretched through the 1970s... The album opens with some overly-bright, perky sunshine-pop, straight out of the Southern California/LA playbook; Philly-style soul and a bit of harder funk come into play later. I can't say I actually liked this record that much -- most of the songs seem a bit shrill and hyperactive -- but serious students of Brazilian funk and soul will definitely want to check it out.

Diana - see artist discography

Orlando Dias "Serie Bis" (EMI, 2000)
Florid romantic vocals from the mid-1960s. Unfortunately, these tracks have a smoothness of production and modernity that sap the nostalgia value right out of them... They sound like they were made in the 'Seventies, in preparation for a bad Vegas club act... If the recordings had felt a little rougher or the audio quality sounded more antique, this might have had some retro charm, but as it is, it's just bad, boring, blandly produced schmaltz. A similar set was produced for the Meus Momentos series.

Orlando Dias "20 Super Sucessos" (SBME, 2005)

Orlando Dias "Selecao De Ouro: 20 Sucessos" (EMI, 2007)

Sergio Dias - see solo discography and Os Mutantes discography

Di Melo "Di Melo" (Odeon, 1975) (LP)
This mid-'70s groover has ties to the nascent soul & funk scene, but even more in common with the exploratory acoustic fusion of Gilberto Gil around the same time. A missing gem from MPB's post-tropicalia golden age... Definitely worth tracking down!

Branca Di Neve "Branca Mete Bronca!" (Continental, 1987)
I was drawn to this disc because I notice it had several songs from some notably funky Brazilian soul/pop artists such as Jorge Ben, Marku Ribas and Itamar Assumpcao... But this is a pretty soft-centered pop album, with not a lot of bite to it... Nothing much to get excited about, really.

Branca Di Neve "Branca Mete Bonca, v.2" (Continental, 1988)
Bleah. There's just no energy to his vocals, and lots of weak, tepid pop arrangements. What's the deal with this guy? Why did they record him? And why did they reissue his records on CD? I don't get it.

Paulo Diniz - see artist discography

Benito DiPaula - see artist discography

Os Diplomatas No Samba "...Com Paulo Roberto Ao Orgao" (Philips, 19--?) (LP)

Djavan - see artist discography

DJ Patife/Various Artists "DJ Patife Presents Sounds Of Drum'N'Bass" (Trama, 1999)
Better-than-average Brazilian electronica, from the late '90s club scene. Some songs have a distinctive "Brazilian-ness" to them, although for the most part, I'd have to say this seems like the same old same old, as far as electronic dance and techno music goes. Certainly worth checking out, if that style is your bag.

DJ Patife "Na Estrada" (Trama, 2006)