Quinteto Ternura "Quinteto Ternura" (RCA, 1974)
The vitality these ex-Jovem Guarda teens showed earlier in their career (as Trio Ternura) is sadly absent on this, their final album. Despite the Jackson Five-style outfits worn on the cover, this is calculatedly light, perky, breezy pop, following in the path of bands such as The Association or Terry Jacks, rather than the soul or psychedelic music they dabbled in earlier. The most striking track is the Joni Mitchell-styled "Consegui Concluir"; they also cover Caetano Veloso's "Baby," but in as bland a fashion as possible. Disappointing. (See Trio Ternura, below.)

Marku (Ribas) "Selecao De Ouro" (Copacabana)
Inventive funk music that bears a resemblance -- particularly in the vocals -- to soul crooner Tim Maia. '70s songwriter Marku Ribas, however, had a weirder musical bent, with all sorts of freaky instrumental twists that make his music far more intriguing and consistently listenable. I'm not sure exactly when these tracks were recorded; I'd guess late '70s, early '80s. At any rate, as the Brazilian soul scene goes, this is a pretty interesting record. Worth tracking down.

Marku (Ribas) "72/75" (Copacabana)
This disc draws on two albums, Underground, from 1972 and 1975's Marku.

Rosana "As Melhores" (Sony-Brasil, 2001)
A 14-song best-of featuring plenty of tacky, mainstream '80s pop from this marginal singer. She covers Al Green's "Let's Get Together" (yowling her way through it) and an old Minnie Ripperton song... The old-school soul is balanced by songs by some influential Brazilian rock artists (Rita Lee, Lenine, Marcos Valle and others) but nothing that didn't make me cringe in horror. Not my style.

Dom Salvador - See artist discography

Lucas Santtana "Eletro Ben Dodo" (Natasha, 1999)
Classically fashioned tropicalia from the younger set in Brazil. Energetic, acoustic-based revelry that openly glories in its debts to Gilberto Gil, Caetano Veloso and Jorge Ben. Produced by fellow novo tropicalista rocker, Chico Neves, this weaves Afro-Brasilian percussion in with dynamic acoustic guitars, and plenty of funky rhythms. Santtana's creative sweep isn't as "out there" as the wildest old stuff from the old pros, but he does capture the verve and enthusiasm they had in their youth. With the exception of one well-chosen cover tune -- James Brown's "Doin' It To Death" -- all these tunes are Santtana originals, showing that this fellow is clearly a major talent on the contemporary Brazilian rock scene. Highly recommended!

Seu Jorge "Carolina" (Mr. Bongo, 2002)
I listened to this album when it first came out, but took several years to get around to reviewing it, mostly because it didn't do much for me the first time around, and I didn't want to be (once again!) in the role of pooh-poohing some trendy album that all the pretty people in Europe think is cool... So, just to be a nice guy, I set Seu Jorge's debut aside for a while, and avoided comment, then forgot it was in the stacks until the Summer of '05, when his second album (reviewed below) came along and made my toes curl a little... So, I dutifully dug this one up and gave it another listen: Produced by Mario Caldato of Beastie Boys fame...? Check. Mostly original material, with a few well-chosen covers by the likes of Jorge Ben and Carlos Dafe...? Check. A soul-disco-funk-samba mix that sounds a lot like Jorge Ben's work in the early '80s...? Check. Gets better the longer you listen to it and the deeper you go into the album...? Check. Still kind of flat and prefab? Yeah... check. Gets not-so-great again towards the end of the album? Um... yeah. I mean, this album is okay, but not electrifying; Seu Jorge often comes close to drifting into Luiz Melodia territory, but he does manage to keep just this side of cool. I guess it's really the first few and the last few tracks on here that seem only so-so; the middle of the album gets a little slinkier and more genuinely groovy. It's worth checking out, for sure, though perhaps not quite as earth-shatteringly super-cool as you might be led to believe.

Seu Jorge "Cru" (Wrasse, 2004)
A wonderfully low-key record, which starts off with a lively, cavaquinho-led acoustic number, recalling the glory years of the '70s pagode scene, and moves into a series of equally subtle, understated performances. On track after track, Seu Jorge implies more musical power than he displays, and even on the few tunes where he dips back into his soul roots, it is with the greatest of restraint... A couple of moments are mildly taxing -- his vocal duel with a cuica, for example -- but nothing will interfere with your enjoyment of what is clearly a superior album. Features mostly original material, including a couple of songs by collaborator Fernando Brant (who also plays guitar on about half the album), another Carlos Dafe song, an old samba number by Noca Da Portela, as well as an updated version of an old Serge Gainsbourg song, "Chatterton," which is like capnip for all the Euro-hipsters eager to get a healthy dose of cool new Brazilian music as well. Very nice and very listenable... Recommended!

Seu Jorge "The Life Aquatic Studio Sessions" (Hollywood, 2005)

Seu Jorge & Ana Carolina "Ana & Jorge" (BMG, 2005)

Seu Jorge "Live At Montreaux: 2005" (Eagle, 2007)

Wilson Simonal -- see artist profile

Som Nosso De Cada Dia "SNEGS" (Continental, 1974)
The debut album by one of the best Brazilian rock (and funk) bands of the 1970s... Legendary, and -- naturally -- out of print for years. Part of the band came from the remnants of the popular psychedelic/jovem guarda group, Os Incriveis... This is the only album with the band's co-founder, keyboardist/multi-instrumentalist Manito, of Os Incriveis... Haven't heard it yet, but I'm looking forward to the day when it gets reissued, so I can check it out...

Som Nosso De Cada Dia "A Procura Da Essencia: Ao Vivo 1975-1976" (Editio Princeps, 2004)
(Produced by Marcelo Spindola Bacha)
A 2-CD set of live recordings by Som Nosso De Cada Dia, one of the best and most forceful Brazilian prog-rock bands. Moogs and guitars aplenty ride atop a driving, at times brutal, beat... While contemporaries such as Os Mutantes and O Terco slid into a more pop-oriented sound, Som Nosso were far more hard-edged, keeping pace with genre founders such as Return To Forever and Chick Corea, although with an experimental bent that also suggests the work of Can and the krautrock scene, as well as soem boogie rock and old-school, Sabbath-y heavy metal. This challenging collection, culled from archival tapes kept by guitarist Egidio Conde, is packed with leviathan jams, ten minutes or longer and a rough-and-rugged feel that's really quite different that practically anything else coming out of Brazil at the time. Not what I'd put on for casual listening, but of immense historical value. (For more information, check out the Editio Princeps website...) (Note: Egidio Conde was formerly in the band Moto Perpetuo...)

Som Nosso De Cada Dia "Som Nosso" (Columbia, 1977)
(Produced by Tony Bizarro)
One of the best, most challenging, most satisfying of the classic Brazilian soul/funk albums... But that's only half the story! Apparently this album is a patchwork effort, made up of an earlier album (Amazonia) that was shelved by their old label, and new material (the funk stuff) that CBS thought would be more salable... After laying down some groovy, innovative, multi-textured funk, the Som Nosso band shift gears on the second side of the album and get into some spacy, noodly, occasionally shrill prog-rock... Like their funk music, though, the prog material is rather accomplished, and stands up quite well next to the krautrock or what-have-you that was going on elsewhere at the time. Only one track is outright irritating: "Agua Limpa" gets a little longwinded and facile, sounding less like Can and more like Yes or Emerson, Lake & Palmer... Otherwise, this disc is a real find for '70s-aholic music geeks. Definitely worth tracking down!

Suba "Sao Paulo Confessions" (Ziriguiboom/Six Degrees, 2000)
Soft-soul electronica with wispy female vox. The mixer, Yugoslavian expatriate Mikar Subotic (aka Suba), died in an apartment fire in Brazil during the winter of '99, and this album is his recorded legacy. One wonders though, comparing the strength of the first few tracks with the album's somewhat formless second half, if all these tracks got all the attention they deserved before his untimely death. On the best vocal cuts, this seems like a logical '90s extension of the old Astrud Gilberto sound, with silken, synthetic sound beds in place of sax and strings. The instrumental numbers, on the other hand, tend to be a bit flat, as does a version of "A Felicidade" which somehow manages to denude the Jobim standard of its melody. Art rocker Arnaldo Antunes pitches in on one track, with his patented Beat Happening-croaky voice. Trip-hoppers may go for this more than I did, though I do think there are some lovely moments to be heard here.

Suba "Felicidade Remixes (EP)" (Ziriguiboom/Six Degrees, 2000)
Remixes. Of "Felicidade."

Timbalada - see artist discography

Toni Tornado "B. R. 3" (Odeon, 1971)
Apparently this fellow was a television actor who briefly made the move into a music career, as a pioneer of the Black Rio soul scene. His debut on the Odeon label is nearly indistinguishable from similar hard-edged funk by Tim Maia, an uneasy, back-and-forth mix between the machinegun yelps and growls of James Brown and the softer crooning of the Philly crowd. Still, it's way better than wimpy material by Cassiano and his ilk. A slew of well-known jazz and soul musicians worked with Tornado on this album (each apparently recording with him on separate sessions), including Paulo Moura, Dom Salvador and Waltel Branco. Worth checking out if you're tracking down these old soul albums.

Toni Tornado "Toni Tornado" (Odeon, 1972)
Tornado's follow-up album is fairly dreadful, though, full of spasmodic, hyperactive arrangements which at their best sound like the disco-y work of Banda Black Rio, and at their worst are simply loud and unfocussed. Retro-funk fans will probably dig this album, but it lacks polish and doesn't really hold up.

Trio Mocoto "Muita Zorra" (Philips, 1971)

Trio Mocoto "Trio Mocoto" (Brasis/Movieplay, 1972)
These fellows backed up Jorge Ben in the early 1970s, as he shifted gears and became as a flat-out funk musician... These recordings were made after their work backing him on the Forca Bruta album; they're simultaneously soulful and slightly goofy, with an easygoing mix of groove and easy listening -- jazzy guitars, samba percussion and a light string section, very typical of late '60s/early '70s Brazilian pop... This doesn't have the same grit and drive as their work with Ben, but it stops well short of being outright Muzak, and has a fair share of sly, soulful moments. It's not earth-shaking , but it's worth checking out.

Trio Mocoto "Trio Mocoto" (Brasis/Movieplay, 1975)
Same title, same era -- different album. These later recordings are simultaneously soulful and slightly goofy, with an easygoing mix of groove and easy listening -- jazzy guitars, samba percussion and a light string section, very typical of late '60s/early '70s Brazilian pop... It doesn't have the same grit and drive as their work with Ben, but it stops well short of being outright Muzak, and has a fair share of sly, soulful moments. It's not earth-shaking , but well worth checking out.

Trio Mocoto "Samba Rock" (Six Degrees, 2002)
These old guys have still got it... in fact, I'd even say this disc is stronger overall than their "classic" early work, reviewed above. Nice, chopsy funk and soul, with predictable, but delicious dips into rap and electronica. What's great about this album is the old-timer confidence that these guys exude throughout. Definitely worth checking out.

Trio Ternura "Trio Ternura" (CBS) (1971?)
A cool psychedelic soul-pop album, produced under the auspices of crazed, ne'er-do-well avant-rocker, Raul Seixas, who was just about ready to get kicked off the CBS label himself for greenlighting his own solo album without the label head's approval. Enough about him, though... This album has some great '60s pop twists, LA-style orchestral stuff, cannily blended with driving funk, similar to early Sly & The Family Stone. They later released an album under the name of Quinteto Ternura (see above). Retro fans pay heed: this is an album worth tracking down!

Uniao Black "Uniao Black" (RCA, 1977)
One of the handful of Braz-Soul bands that really deliver the goods. Plenty of great, bouncy, heavy bass lines, straight out of KC & The Sunshine Band, or the O'Jays, but with a seriously funky undercurrent. Unlike many of their disco-ed out contemporaries, these guys really "got" it... The album does lapse into funky-jam tedium after a powerful start, but the level of playing is still far above most of the Black Rio bands, sexier and less jarring or hyperactive than, say, Banda Black Rio. Recommended.

Uniao Black "Banda Uniao Black" (Commonfolk, 2005)

Veiga & Salazar "Original" (ST2/Trama, 2000)
Poppy, bouncy hip-hop from Sao Paulo, featuring sharp turntabulism, decent beats and live, funky saxophone. These guys have flow, although I admit I found my attention wandering midway through the album... Andres Salazar's sax work is a little weak in places; not bad, just not as soulful as it might have been, although his Spanish-language rapping easily matches Gustavo Veiga's Portuguese tounge-twisting toasting talents. Keep in mind, these kids are pretty young, and this is a pretty strong debut. Worth checking out if you're into the whole global hip-hop trip.

Zuco 103 "Outro Lado" (Ziriguiboom/Six Degrees, 2000)
Zuco 103 "The Other Side EP" (Ziriguiboom/Six Degrees, 2000)
A canny mix of Brazilian MPB, soul, and European trip-hop/dance styles. This Dutch ensemble features the sleek vocals of Brazilian expatriate, Lilian Veira... It took me a while to place the feel of her style, but finally it dawned on me: if Sade had spoken Portuguese, the result might have been much like this. This is a sugary, languid album, which should blow the minds of the soul-ier club kids, though those of a more traditional, less electronic bent may find their attention wandering after a while. The Other Side EP gets even clubbier and more house-y.

Zuco 103 "Tales Of High Fever" (Ziriguiboom/Six Degrees, 2002)
I liked Zuco's first album, but they lost me a little on this one. It's too disco-y, too retro for me to enjoy, and -- sadly -- Lilian Veira's vocals seem a bit too shrill. I think she's trying for a Chaka Khan soulfulness, but she's really just got a Gal Costa voice. Nonetheless, that's just my personal take on this album. I'm sure that anyone into clubbier, loungier, kitschier, hipper, more electronic lifestyle will find this album irresistible. It's a densely-layered, intricate pop mosaic, with a wider stylistic range than my description might imply. On the later tracks there are some cool numbers based on Afro-Brazilian percussion; there's also a noteworthy cover of Jorge Ben's "Bebete Vambora..." But in the long run, this just ain't my cup of tea.

Zuco 103 "One Down, One Up" (Crammed Disc/Six Degrees, 2003)
Zuco 103 "One Down" (EP) (Crammed Disc/Six Degrees, 2003)
Zuco 103 "One Up" (EP) (Crammed Disc/Six Degrees, 2003)

Zuco 103 "Whaa!" (Crammed Disc/Six Degrees, 2005)
Their best album so far, by far. A great, giddy modern Euro-Brazilian world-pop album, marking a quantum leap up from the band's first two albums from a few years back. On the opening track, "Na Magueira," singer Lilian Vieira bursts forth with an incandescent homage to the sprightly jazzy rhythm style of Elza Soares -- Vieira's version being draped in a contemporary techno-tinged sound mix... The band's roots in Europhilic dance music come back to the fore in a few of the house-ier tracks, but their explorations of African pop (on "Duele Le Le") and cameos by dub reggae legend Lee "Scratch" Perry make this album their richest, most resonant album to date. Nice stuff; as catchy as it is clever, and as propulsive as it is playful. Recommended.

Zuco 103 "After The Carnaval" (Six Degrees/Dox-Netherlands, 2008)
(Produced by Zuco 103)

Brazilian electro-pop from the Zuco crew, who have always been a bit on the clubby side, but had a strong grounding in contemporary Afro-Brazilian styles as well. They get super-technoed out on a few tracks, particularly the aggressively house-y, Euro-flavored "Beija A Mim," one of the first songs on the album, but then delve deeper into samba and soft-soul as the album goes on. Lead vocalist Lilian Vieira has a reedy, Sade-ish feel which hardens when she turns to more samba-flavored material; each of these styles will find their fans, as this is an album that offers a variety of tempos and tones. If you enjoyed their earlier albums, you'll want to check this out as well... Overall, it'll probably have the greatest appeal for the club-kids contingent, but Braziliophiles will dig it, too.

Brazilian Soul & Funk - Compilation Albums

Other Brazilian Styles
Main Brazil Index