w Joe Sixpack's Brazilian Music Guide - Miscellaneous Albums, Letter "D" (Page 2)

Brazilian Album Reviews

This is Page 2 of Brazilian artists under the letter "D"

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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)
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 & Maurício Carrilho "Joao De Aquino E Maurício 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)
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, 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)



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)


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


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


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


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 -- particualrly 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)
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. Some riffs are way cool, but the record bogs down in stylistic repetition, and a continuous sublimnal flirtation with jazz drumming style. Close, but not quite.


Decreto A Lei "Decreto A Lei" (1993)


Miguel De Deus "Black Soul Brothers" (Copacabana, 1977)
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 unmelodic 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)
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-partyway, 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 harpwork 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 crosscultural 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 "Alo Broto #2" (Philips, 1961)


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


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


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


Demonios Da Garoa "Saudosa Maloca: Nos Sambas De Adoniran Barbosa" (Odeon, 1957)
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)
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 marvellous record for anyone looking to dig deeper into Brazilian musical roots. Worth checking out!



Sandra De Sa - see artist profile




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