Sergio Mendes & Brasil '66 - 1968 - Fool On The Hill

Sergio Mendes & Brasil '66

1968

Fool On The Hill

01. Fool On The Hill

02. Festa

03. Casa Forte

04. Canto Triste

05. Upa, Neguinho

06. Lapinha

07. Scarborough Fair / Canticles

08. When Summer Turns To Snow

09. Laia Ladaia (Reza)

Bass – Bob Matthews

Drums – Joao Palma

Guitar – John Pisano

Percussion – Jose Soares

Piano – Sergio Mendes

Vocals – Janis Hansen, Lani Hall

One of our favorite albums by Sergio Mendes & Brasil 66 – a perfect bridge between the simple pop of earlier records, and the group's expanding sound as the 70s approached! The warmly glowing Brasil 66 style is still very strongly in place, but the music here is all a bit hipper – tunes that show the growing sophistication of Brazilian music in the post-bossa years – picked up on by Sergio, and reworked for a larger audience in the US! The record's got some incredibly wonderful material – including a sublime cover of "Upa Neguinho", plus versions of "Casa Forte", "Canto Triste", "Lapinha", and "Laia Ladaia", a song that's a perfect fit for the group's unique style! Also includes the dreamy number "When Summer Turns To Snow", and the group's classic cover of "Scarborough Fair"!

Having hit upon another smash formula -- cover versions of pop/rock hits backed by lavish strings, a simplified bossa nova rhythm, and the leader's piano comping -- Sergio Mendes & Brasil '66 produced two more chart-busting singles, again turning to the Beatles for sustenance with the title track (number six) and Simon & Garfunkel for "Scarborough Fair" (number 16). But again, the bulk of the album was dominated by Brazilians, and by one in particular: the hugely gifted Edu Lobo, whose dramatic "Casa Forte" and infectious "Upa, Neguinho" were the best of his four songs. The tracks were longer now, the string-laden ballads (arranged by Dave Grusin) more lavish and moody, and Lani Hall emerged as the vocal star of the band, eclipsing her new partner, Karen Philipp (although Hall is upstaged on "Lapinha" by future Brasil '77 member Gracinha Leporace). Even though he had become thoroughly embedded in the consciousness of mainstream America, Mendes still managed to have it three ways, exposing first-class tunes from little-known Brazilian talent, garnering commercial hits, and also making some fine records. Cultural note: the striking foldout cover art, depicting Brasil '66 at sunset seated on top of a nude woman, somehow made it past the uptight censors of the day and no doubt boosted sales; it was Mendes' highest-charting album at number three.

Sergio Mendes & Brasil '66 - 1967 - Equinox

Sergio Mendes & Brasil '66

1967

Equinox

01. Constant Rain (Chove Chuva)

02. Cinnamon And Clove

03. Watch What Happens

04. For Me

05. Bim-Bom

06. Night And Day

07. Triste

08. Gente

09. Wave

10. So Danco Samba (Jazz 'N' Samba)

Bass – Bob Matthews

Drums – Joao Palma

Guitar – John Pisano

Percussion – Jose Soares

Piano – Sergio Mendes

Vocals – Janis Hansen, Lani Hall

The second album by Sergio and crew – and a real push forward for the group! The basic format of two-female harmony leads is still in place – but for some reason, this album gives a bit more of a nod to Brazilian roots than before, and really spices things up with an even more interesting array of songs! There's a bit less of the pop/cover style than before, and a bit more of a nod towards the hipper side of Brazilian music – especially the modernists of the bossa nova generation.

Equinox continues the scrumptiously winning sound that Sergio Mendes cooked up in the mid-'60s, this time a bit more fleshed out with John Pisano's guitar, a slightly thicker texture, and even an imitation sitar (this was, after all, 1967). Again, the mix of American pop tunes old and new and Brazilian standards and sleepers is impeccable (although it didn't yield any substantial hits), and the treatments are smooth, swinging, and very much to the point. While Mendes reaps a predictable harvest from Antonio Carlos Jobim -- he was one of the first to discover and record "Triste" and "Wave" -- he also likes to explore the work of other outstanding Brazilian writers like Jorge Ben, Joao Gilberto, and especially Edu Lobo (whose "For Me," with its bright flashes of combo organ, is one of the album's highlights). Lani Hall's star was just rising at this time, and it is her cool, clear voice that haunts the memory most often. Like its predecessor, Equinox is exceedingly brief in duration, yet not a motion is wasted.

Sergio Mendes & Brasil '66 - 1966 - Herb Alpert Presents Sergio Mendes & Brasil '66

Sergio Mendes & Brasil '66

1966 

Herb Alpert Presents Sergio Mendes & Brasil '66

01. Mais Que Nada (Ma-sh Kay Nada) 2:37

02. One Note Samba / Spanish Flea 1:46

03. The Joker 2:37

04. Going Out Of My Head 3:00

05. Tim Dom Dom (Chim Dome Dome) 1:51

06. Day Tripper 3:09

07. Agua De Beber (Agwa Gee Bebérr) 2:28

08. Slow Hot Wind 2:32

09. O Pato (O Pawtoo) 1:58

10. Berimbau 3:15

Bass, Vocals – Bob Matthews

Drums – João Palma

Percussion, Vocals – José Soares

Vocals – Janis Hansen

Vocals – Lani Hall

Vocals, Keyboards – Sérgio Mendes

Producer, Presenter, Liner Notes – Herb Alpert

After bouncing around Philips, Atlantic, and Capitol playing Brazilian jazz or searching for an ideal blend of Brazilian and American pop, Sergio Mendes struck gold on his first try at A&M (then not much more than the home of Herb Alpert & the Tijuana Brass and the Baja Marimba Band). He came up with a marvelously sleek, sexy formula: dual American female voices singing in English and Portuguese over a nifty three-man bossa nova rhythm/vocal section and Mendes' distinctly jazz-oriented piano, performing tight, infectious arrangements of carefully chosen tunes from Brazil, the U.S., and the U.K. The hit was Jorge Ben's "Mas Que Nada," given a catchy, tight bossa nova arrangement with the voice of Lani Hall soaring above the swinging rhythm section. But other tracks leap out as well; the obvious rouser is the Brazilian go-go treatment of the Beatles' "Day Tripper," but the sultry treatment of Henry Mancini's "Slow Hot Wind" and the rapid-fire "Tim Dom Dom" also deserve mention.

The start of a legend – and the very first album by Sergio Mendes' Brasil 66 group, proudly brought to the world through the godlike talents of a young Herb Alpert! Sergio was no stranger to the recording studio by the time of this set, but the record marked a real shift in his music – a change from the mostly-instrumental bossa modes he first forged back in Brazil, and a shift to warmer, sweeter pop with a nice sunny California finish – done through unique production techniques and the group's trademark two-lady lead vocals! The sound is tremendous, and is possibly heard in its purest form here – simple, focused, and given that near-perfect A&M sound through Herb's production skills.

Sergio Mendes & Brasil '65 - 1965 - In Person At El Matador

Sergio Mendes & Brasil '65

1965 

In Person At El Matador

01. Reza 4:54

02. O Morro 2:32

03. Samba Do Astronauta 2:57

04. Tem Do De Mim 2:34

05. Jodel 3:34

06. Samba De Jose 1:52

07. Noa Noa 2:56

Black Orpheus Medley 6:13

        08. Manha De Carnaval

        09. Batuque De Orfeu

        10. Samba De Orfeu

        11. A Felicidade

-

12. Arrastao 3:52

13. Vai De Vez 2:56

14. Caminho De Casa 2:46

Bass – Sebastiao Neto

Drums – Chico Batera

Guitar – Rosinha De Valenca (tracks: 3, 6, 10)

Lead Vocals – Wanda De Sah (tracks: 2, 4, 9)

Percussion – Paulinho Magalhaes

Piano – Sérgio Mendes

Presenter [Introduction] – Leonard Feather

Producer – Nesuhi Ertegun

Recorded live at the nightclub 'El Matador' in San Francisco Bay area, California, US.

Comes in mini LP replica with OBI & Japanese insert.

A great little live set from Sergio Mendes and his Brasil 65 group – a pre-Brasil 66 combo that features Wanda De Sah on vocals and Rosinha De Valenca on guitar! The style here is more traditionally Brazilian bossa than Sergio's later work on A&M – a fluidly jazzy groove captured with a good sense of intimacy despite the live setting – and issued by Atlantic as a nice antidote to some of the more watered-down bossa work on the US market! The vocals are wonderful – often spare and a bit more fragile than the two-voiced sound of A&M

The best, authentic live bossa nova record from the classic era. Way more interesting than Getz a Go Go. This is the Mendes band before Brazil ‘66, the label change to A&M and the addition of vocalist Lani Hall. This is the band we are most familiar with—which found international popularity—and whose recordings still dominate the genre.

Nevertheless, this record with Wanda de Sah on vocals had a lot going for it. The group recorded for both Capitol and Atlantic—with very consistent and exciting results. Purists might prefer it to the later iterations of Mendes’ musical path.

Recorded at the once legendary El Matador nightclub in San Francisco, this set consists mostly of Mendes-penned tunes, laid back, played in a style without string arrangements and other pop trappings that came later. A few tunes like “Caminho de Casa” veer pleasantly in the direction of west coast jazz. The tempi are similar and the intense, beautiful playing. There is a very Vince Guaraldi-like vibe on several songs, especially “Jodel”.

As bossa nova pianists go, Mendes set the mark for most listeners north of Rio. His instrument is at the front of the mix along with the rhythm and occasionally de Sah’s very pleasant vocals. Rosinha de Valenca adds terrific guitar parts to several tracks, elevating the entire program.

Taken together, this record has everything to recommend it and might easily become your favorite live bossa nova record all time. It is mine.

Wanda De Sah - 1965 - Softly

Wanda De Sah

1965

Softly

01. Ho Ba La La 2:25

02. Sweet Happy Life 2:32

03. Quiet Nights 2:05

04. Aruanda 1:50

05. The Dreamer 2:37

06. So Danco Sambo 2:14

07. Once I Loved 2:09

08. Who Knows 1:43

09. Tem Do 1:50

10. With Feeling 2:13

11. Agua De Beber 2:0

Although she was already a veteran songwriter and recording artist, Wanda de Sah was pegged as "the new thing" by American marketing executives during her stint in Sergio Mendes' first pop incarnation, Brazil '65. Although that group wasn't popular -- it was actually a new collective, Brazil '66, that gained fame -- she was soon signed by Capitol for a record and assigned to arranger Jack Marshall (who had played guitar on many sessions and written the chart for Peggy Lee's "Fever" as well as The Munsters theme). The material came from the Brazilian songbook, at least the parts of it already familiar to Americans (including some Brazil '65 songs as well as Jobim and Getz/Gilberto standards). Although Astrud Gilberto is a touchpoint for Wanda de Sah, she didn't have the same candle power; her singing is more subdued and slightly more intricate, but no more melodic or winsome. The arrangements are about as good as could be expected from a Capitol studio group in the mid-'60s -- cool and professional, and surprisingly in-tune with the Brazilian "touch."

A lost bossa classic from Wanda De Sah -- aka Wanda Sa, the wife of Edu Lobo, and a singer who worked with Sergio Mendes in his pre-Brasil 66 days! The album's got a wonderfully laidback feel -- languid, yet jazzy, with the feel of some of Astrud Gilberto's best work on Verve, yet with vocals that are possibly better -- thanks to Wanda's pedigree in Brazilian pop. Recordings were done in California, not Rio -- and arrangements are handled by the great Jack Marshall -- who's got a strong ear for keeping things interesting with a mix of strings, Latin rhythms, and Capitol pop shadings.

Sergio Mendes - 1965 - Brasil '65

The Sergio Mendes Trio Introducing Wanda De Sah With Rosinha De Valenca\

1965 

Brasil '65

01. So Nice = Samba De Verão 2:12

02. Favela 2:54

03. Berimbau 3:17

04. Tristeza Em Min 2:44

05. Aquarius 2:23

06. One Note Samba = Samba De Uma Nota So 2:20

07. She's Carioca 3:24

08. Muito A Vontade 2:56

09. Let Me = Deixa 2:50

10. Consolação 3:09

11. Reza 3:03

Bass – Sebastião Neto

Drums – Chico Batera

Guitar – Rosinha De Valenca

Piano – Sérgio Mendes

Vocals – Wanda De Sah

1st Edition as "Brasil '65" in 1965.

Also released as "So Nice" with a few less tracks.

Reissued as "In the Brasilian Bag" in 1966.

That's Brasil 65, not Brasil 66 -- a distinction that marks a key early stage for the great Sergio Mendes -- heard here on one of his first albums to mix together bossa jazz and vocals! The approach here is a bit more like vintage bossa dates from Brazil -- or a bit like some of the Verve bossa records too -- as Sergio's core trio is at the heart of every tune, playing with a great jazzy approach -- then augmented in different ways by alto and flute from Bud Shank, guitar from Rosinha De Valenca, and vocals from the lovely Wanda De Sah! Production is perfect -- really in a classic Elenco Records mode.

Sergio Mendes - 1968 - Sergio Mendes' Favorite Things

Sergio Mendes

1968

Sergio Mendes' Favorite Things

01. My Favorite Things 2:52

02. Tempo Feliz (Happy Times) 2:34

03. Ponteio 2:26

04. Veleiro (The Sailboat) 3:21

05. A Banda (Parade) 2:30

06. I Say A Little Prayer 2:08

07. Comin' Home Baby 3:00

08. Boa Palavra (The Good Word) 3:08

09. O Mar É Meu Chão 3:24

10. So What's New 3:01

Bass – Joe Mondragon

Bass [Fender] – Larry Nechtel

Drums – Dom Um Romao

Flute, Soprano Saxophone, Saxophone – Tom Scott

Guitar – John Pisano

Percussion – Joao Donato

Percussion – Moacir Santos

Piano, Harpsichord, Electric Piano – Sergio Mendes

Producer – Nesuhi Ertegun

As Sergio Mendes reached the peak of his first A&M period with Brasil '66, his old company, Atlantic, continued to release new instrumental Mendes albums, of which this was the last. As on the Brasil '66 recordings of the time, Mendes exposes fresh material from the '60s bumper crop of great Brazilian songwriters: Edú Lobo, Dori Caymmi, Baden Powell, Chico Buarque, and Caetano Veloso. Dave Grusin returns with his swirling, ambitious orchestral arrangements; John Pisano is back on rhythm guitar (along with a lounge-like bossa nova take of his "So What's New"); and Mendes continues to toy with the Fender Rhodes electric piano and electric harpsichord on a number of cuts. Yet this album has an entirely different sound than Mendes' A&Ms, with a typically trebly Nesuhi Ertegun production and more varied rhythm tracks (only on the title track does the rhythm section sound like that of Brasil '66). Buarque's "A Banda" -- which Herb Alpert and the Tijuana Brass took to the singles charts in the fall of 1967 -- conjures the effect of a ramshackle marching band in a Brazilian parade, and Caymmi's "The Sea Is My Soil" is an evocative mood-swinging tone poem. Ertegun gives Mendes a shot at one of his own favorite things, "Comin' Home Baby," perhaps hoping for hit lightning to strike yet again on this tune (it didn't). Ultimately, this comes off as a pleasant side trip from Mendes' prime period.

In 1968, Sérgio Mendes released Sérgio Mendes' Favorite Things. It was not titled “Sérgio Mendes & Brasil '66” like his other releases released between 1966 and 1970, only his own name. Does this tell us anything about the music? I think so. There are fewer tunes here that were well-known to the US target audience than they'd gotten accustomed to at the time, but significantly more Brazilian songs. There's also almost no singing. The excellent team of musicians was given the opportunity to add tiny little improvisations here and there, Dave Grusin provided the album with tasteful arrangements where maestro Mendes wished, and the recording quality is good. Overall, Sérgio Mendes' Favorite Things feels closer to the things Antônio Carlos Jobim was releasing back then. I admit that I could've done without A Banda (I always thought this track was one of the very few silly tunes penned by Chico Buarque). But otherwise, I've nothing to criticize about the song selection. It was still that refined easy listening typical for Sérgio Mendes, but since it was 1968, when the musical possibilities were open in all directions, it's fair to assume that he drew from the full and that Favorite Things was, and still is, an enjoyable and entertaining release.

A sweet little pairing of the keyboards of Sergio Mendes and the early arranging styles of Dave Grusin – and a set that's quite different than some of Sergio's vocal albums with Brasil 66! The style here is all instrumental – and Mendes plays both piano and electric piano, plus a bit of harpsichord too – working with a hip LA group that features Grusin on organ, Tom Scott on flute and soprano sax, and John Pisano on guitar – plus a bit of Brazilian percussion from Joao Donato and Moacir Santos! The result is a heavenly 60s groove – some slight larger backings, plus great work from the jazzy group at the core.

Sergio Mendes - 1966 - The Great Arrival

Sergio Mendes

1966

The Great Arrival

01. The Great Arrival (Cheganca)

02. Monday, Monday

03. Carnaval

04. Cancao Do Amanhecer

05. Here's That Rainy Day

06. Boranda

07. Nana

08. Bonita

09. Morning

10. Don't Go Breaking My Heart

11. Tristeza De Amar

12. Girl Talk

Arranged By, Conductor – Bob Florence (tracks: A1, A2, B1, B4), Clare Fischer (tracks: A3, A6, B3, B6), Dick Hazard* (tracks: A4, A5, B2, B5)

One of Sergio Mendes' most dreamy albums -- quite different than both his vocal work with Brasil 66, and his smaller combo sides from Brazil! There's still a strong bossa component to the record -- but the setting has Sergio's piano lines laid out over larger arrangements with a good jazz component -- soloing beautifully with a grace and charm he sometimes didn't have on other projects! Arrangements are by some hip American talents -- Clare Fischer, Bob Florence, and Richard Hazard -- and the set's filled with bright horns, lush banks of strings, and cascading rhythms -- all produced with exceptional sound, so that Sergio's piano goes gliding over the top in a manner that's similar to some of the Luis Eca albums in a similar format.

Sergio Mendes - 1965 - The Swinger From Rio

Sergio Mendes

1965

The Swinger From Rio

01. Maria Moita 3:37

02. Sambinha Bossa Nova 3:10

03. Batida Diferente 3:23

04. So Danco Samba 3:08

05. Pau Brazil 3:13

06. The Girl From Ipanema 2:51

07. Useless Panorama 3:26

08. The Dreamer 4:13

09. Primavera 2:39

10. Consolocao 3:19

11. Favela 5:21

Sérgio Mendes - piano

Art Farmer - flugelhorn (tracks 2, 6, 7) (recorded 7 December 1964)

Phil Woods - alto saxophone (tracks 1, 4, 8) (recorded 8 December 1964)

Hubert Laws - flute (tracks 3, 5, 9, 11) (recorded 9 December 1964)

Antônio Carlos Jobim - rhythm guitar

Tiao Neto - bass

Chico de Souza - drums

Tom Dowd - audio engineer

Recorded December 1964 in New York with Nesuhi Ertegun producing.

Sergio Mendes is definitely a swinger – especially on this jazz-based session that was recorded before his famous work with Brasil 66! This album was recorded in New York, at a time when Mendes was one of the hottest things brewing in the bossa scene in Brazil – and apart from the great Antonio Carlos Jobim on guitar, many of the other players are American jazz musicians – including Art Farmer on flugelhorn, Phil Woods on alto sax, and Hubert Laws on flute – all adding in some nice jazzy elements to the tunes! The music is all instrumental, and a great mix of jazz and bossa that really lets you hear the young Sergio's skills on piano.

Sergio Mendes - 1964 - Voce Ainda Nao Ouviu Nada!

Sergio Mendes & Bossa Rio

1964

Voce Ainda Nao Ouviu Nada!

01. Ela É Carioca
02. Amor Em Paz
03. Coisa Nº 2
04. Desafinado
05. Primitivo
06. Nanã
07. Corcovado
08. Nôa Nôa
09. Garota De Ipanema
10. Neurótico

Arranged By – Antonio Carlos Jobim, J.T. Meirelles, Moacir Santos, Sérgio Mendes

Bass – Sebastião Neto
Drums – Edison Machado
Piano – Sérgio Mendes
Tenor Saxophone – Aurino Ferreira (tracks: 5, 6), Hector Costita
Trombone – Edson Maciel
Valve Trombone – Raul De Souza

Original Brazilian LP released 1964.

Reissued as The Beat Of Brazil in 1967

Early bossa jazz from Sergio Mendes – recorded with his famous Bossa Rio combo, in the years before he moved to America! The album's a classic in Brazilian jazz – a tight album of bossa-inflected jazz tunes played with razor-sharp precision, handled with a style that went on to influence countless other Brazilian groups at the time. Mendes is in the lead on piano, and other players include Edison Machado on drums, Raul De Souza on trombone, and Hector Costita on tenor sax. The whole thing's great – a masterpiece of both jazz and bossa – and it's filled with classic tunes arranged by Jobim, Moacir Santos, and Sergio himself.

Cannonball Adderley - 1962 - Cannonball's Bossa Nova

Cannonball Adderley

1962

Cannonball's Bossa Nova

01. Clouds 4:49

02. Minha Saudade 2:20

03. Corcovado 6:42

04. Batida Diferente 3:25

05. Joyce's Samba 3:10

06. Groovy Samba 4:58

07. O Amor Em Paz 7:46

08. Sambop 3:32

Alto Saxophone – Julian "Cannonball" Adderley

Alto Saxophone – Paulo Moura (tracks: A2, A4, B1, B3, B4)

Bass – Octavio Bailly, Jr.

Drums – Dom Um Romão

Guitar – Durval Ferreira

Piano – Sergio Mendes

Trumpet – Pedro Paulo (tracks: A2, A4, B1, B3, B4)

Recorded at Plaza Sound Studios; New York City.

A pleasant date recorded in late 1962 with South American musicians the Bossa Rio Sextet of Brazil. Cannonball is heard alongside Sergio Mendes on piano, future Weather Report percussionist Dom Um Romao, and featured on five cuts is Paulo Moura on alto saxophone with Pedro Paulo on trumpet. Unfortunately this release contains little fire, as Adderley didn't get much rehearsal time with these musicians. Combined with the repetitious nature of the Bossa Nova these proceedings can get tedious. This session was originally released on Riverside, but Adderley took several master tapes (including this one) when he made his move to Capitol.

Bossa madness -- and a really hard to find pressing of this album! Cannonball Adderley recorded this nice little groover in 1962, when American musicans were just getting on the bossa tip, and still keeping things pretty authentic. The record was cut in New York with Sergio Mendes' early Bossa Rio group -- the legendary Brazilian jazz ensemble that featured Paulo Moura, Dom Um Romao, and Durval Ferreira. The mixture of tight bossa rhythms and Cannon's soulful sax is totally great -- and it's only because the Riverside label was folding at the time that the record never got bigger fame.

Sergio Mendes - 1961 - Dance Moderno

Sergio Mendes

1961

Dance Moderno

01. Oba-La-La 2:28

02. Love For Sale 3:00

03. Tristeza De Nos Dois 2:13

04. What Is This Thing Called Love? 2:33

05. Olhou Para Mim 2:50

06. Satin Doll 2:44

07. Tema Sem Palavras 1:59

08. On Green Dolphin Street 2:47

09. Outra Vez 2:24

10. Disa 2:40

11. Nica's Dream 2:47

12. Diagonal 1:28

Reissued as “Mas Que Nada” with bonus track.

The fab first album by Sergio Mendes -- very different than his later work! Sergio's more in a straight bossa mode here -- playing with a tight little combo that features saxophone and trombone next to his own firey work on piano -- tight and jazzy, and even with a few traces of US Latin grooves as well! The album's proof that Sergio was already at the top of his game in the early years -- and although released at the end of the 50s, the record's got a groove that would set the scene for countless bossa jazz albums to follow!