MUSIC

Caetano Veloso is one of the great masters of Brazilian music. This is the analog reissue of his fifth studio album, "Alaska Azul," which was released in 1973 and showcased the most experimental sound of his career. The album's refracted experimentalism is even more fresh than the image in the bizarre cover photo, bleached with plagian tropicalia and psychedelics.

A vibrant abstract bossa nova sound in the vein of Tropicália, incorporating hip-hop, soul, reggae, and more!

In addition to Céu, the album was recorded at Linear Labs Studio in Los Angeles, produced by Adrian Younge, one of the founders of Jazz Is Dead, and Pupillo, drummer of the legendary eight-piece Brazilian mixed hip-hop band Nação Zumbi. The album was recorded at Linear Labs Studio in Los Angeles. The album features American female rapper LadyBug Mecca, French senegalese singer anaiis, Loren Oden, a member of the psychedelic soul band Venice Dawn led by Adrian Young, Thee Sacred Souls on vocals Jensine Benitez, French keyboardist and producer Hervé Salters (General Elektriks), and Brazilian national treasure Marcos Valle. Nominated for a Grammy Award in the World Music category, this is Céu's first ambitious album in five years, which continues to captivate audiences at prestigious festivals around the world.

For fans of: Sessa, Caetano, Veloso, Alabaster DePlume, Bala Desejo London has a bright new Brazilian talent in town, who goes by the name of MOMO. Not so new, actually. One of the recent generation of artists influenced by the Brazilian classics, from 1970s tropicália, Os Mutantes and Milton Nascimento. MOMO. releases his 7th album Gira, on Batov Records bringing together some very special musicians and guests from London’s bustling and hustling jazz community, with fellow Brazilian artists, recorded and cut to tape at East London’s Total Refreshment Center. A journeying collaboration which effortlessly swings, guided by Marcelo Frota’s soft yet reassuringly familiar vocal, with ruminative and explorative brass twists, Gira was recorded with friends and guests including Alabaster DePlume on tenor sax (in whose band Marcelo toured), Jessica Lauren on keys, Tamar Osborn on baritone sax, Nick ‘Emanative’ Woodmansey on drums, Carwyn Ellis of Rio 18 fame on piano, Magnus Mehta from Penya on percussion and Caetano Malta on bass. Gira is MOMO.’s eighth album yet his first recorded in London. After a musical odyssey that took him from his home of Rio de Janeiro to Angola, Michigan, Chicago, Spain and Lisbon, MOMO. now calls London his home, where he lives with his young family, and whose creative spirit has inspired him for the last three years. Unsurprisingly, therefore, the new album marks a real departure. His debut from 2006, A Estética do Rabisco was named one of the best albums of the year by the Chicago Reader and set Marcelo’s musical path in motion. His singer-songwriting talents have already earned him plaudits from royalty like Patti Smith and David Byrne and he was invited to participate in A Tribute to Caetano to mark the 70th birthday of Brazilian musical legend, Caetano Veloso. Inspired by seeing his young daughter breaking out in dance to some music at home, MOMO. thought, "I would love to make an album that she could dance to" and Gira was conceived. In recruiting his new London friends as collaborators, MOMO. rekindled the fun and feel of his earliest recordings in Rio, when he would invite people over to his studio and "just see what happened." And the best way to capture such spontaneous energy was to record Gira live. In this case, at London’s Total Refreshment Centre, a creative hub that is also a concert space, artist workshop and studio which has become a beacon for jazz music since its ‘warehouse’ inception in 2012 by promoter Lex Blondin. The title Gira means to move. "It made sense to start with the grooves, the patterns, then start filling in the melodies,” MOMO. explains. So drummer Nick Woodmansey, leader of the genre-melting jazz collective Emanative, along with co-founder of Penya, percussionist Magnus Mehta, and fellow Brazilian immigrant and bassist Caetano Malta, combine to anchor the resulting effortless grooves, while other contributors then spark the little touches of magic in its wake. Alabaster DePlume's saxophone adds an exotic touch to Oqueeei. Francesca Ter-Berg's cello adds a startling dimension to two of the longer improvisations, the superb opener Pára and A Walk in the Park. Rosie Turton's brash, brittle trombone embellishes Summer Interlude and the first single, Jão. Inspired by the early work of Tim Maia, the album's shortest song pictures a guy in a gafieira (where people go to dance to samba in couples), MOMO. explains, "just dancing and having fun." Fun is a hallmark of Gira. "You come, you play, we have fun," MOMO. told his collaborators. You can hear it so clearly on that simmering eight-minute-plus opener Pára, chosen as the second single: the way MOMO. savours its memorable vocal refrain like a tasty morsel while Jessica Lauren's keyboard vamp takes root and Tamar Osborn's deliciously resonant baritone sax echoes Ronnie Cuber’s trademark work for Eddie Palmieri on Harlem River Drive. Fun, too, is what MOMO. had in collaborating with his old friend Wado on the lyrics to six of the album's 10 songs. The third and final single Rio, for example, is a tribute to the city where MOMO. grew up and first learned to play the guitar. Appropriately, Carwyn Ellis of Rio 18 fame was invited to play electric piano and add his touch to the song. The album’s finale, the focus and title track, is ”like folkloric music, like a baião but with a London vibe.” Gira is a new departure for MOMO. While previous albums have always started with guitar and voice, Gira begins with the groove – yet succeeds sublimely in balancing this new emphasis on spontaneous improvisation and songwriting. “Life brought me to London and I think I’ve made my lightest album; it could only have been created here." When Brazil meets London, you can't help but move to the groove.

Our survey of folk music traditions in Northeastern Brazil, originally broadcast on NTS Radio in 2019, becomes the latest to be committed to cassette as part of our 10th anniversary series. It specifically focuses in on the spur-of-the-moment improvised "duelling" poetry of the repente, embolada & aboio styles that are unique to the Nordeste region.

When his Brazilian LP first appeared on Philips in 1967, both Gal Costa and Caetano Veloso had released only a few singles individually, so this is the first long player from either of them. Although presented as a team effort, this LP is actually mostly Caetano Veloso’s work, with him composing, performing and arranging most of the songs. Gal is featured as the solo vocalist on a few tracks and there are a few duets. These are almost art songs with a tropical wrapping, sometimes defying normal pop song convention by quickly fading out after only 90 seconds or so without a hook or chorus to grab onto, but there’s great vocal control and careful use of strings in the arrangements. This captures a moment when bossa nova was the best known musical export of Brazil, largely through the hugely popular work of Jobim and Astrud Gilberto, but neither Costa nor Velosos would ever sing and play so gently and lushly as this again…they both were to be major figures in the psychedelia-influenced Tropicalia movement that became a cultural and political force in Brazil only a year after this LP was released.

João Gilberto, the "Father of Bossa Nova", is known as one of the most influential lyricists and composers in South America, and Naked Lunch is proud to announce the release of this compilation album focusing on his early career. This compilation album features a selection of great performances from João Gilberto's early works, the ODEON trilogy, or "O Mito".

Limited edition of 2021 on clear vinyl. The masterpiece released in 1973 by Joao Gilberto, known as the god of bossa nova, has been reissued in analog format! This masterpiece is known as one of the best pieces of Brazilian music of the 70s. This masterpiece is known as one of the best pieces of Brazilian music of the 70s. It contains incredibly gentle, delicate, and amazing performances with a tremendous presence.

In 1975, Joyce Moreno, who had just wrapped up a tour with legendary Brazilian composer Vinicius de Moraes, found herself in a studio with producer Sergio Bardotti in Rome, Italy. She had been taking a break from writing and she decided to pick up a selection of her favorite compositions from contemporary Brazilian writers who‘s songs were beacons of hope in times of an ongoing intense Military leadership in her home country. Unlike their previous albums, these recordings live from their reductiveness and intimacy. For a long time, Passarinho Urbano was considered a secret masterpiece and was highly sought after by record collectors, now Week–End Records is glad to be making it available internationally on vinyl for the first time ever.

Jards Macalé’s biography is a testament to the electrifying energy of music and the unwavering spirit of artistic rebellion. Macalé has remained true to his vision, unapologetically embracing the unconventional and challenging the status quo. His music, a conduit of emotion and a mirror to society, continues to weave a sonic tapestry that resonates with the souls of listeners. In 2022, Macalé celebrated the momentous 50th anniversary of his debut solo album, a groundbreaking masterpiece released by Philips in 1972. This iconic record gifted us timeless tracks such as “Vapor Barato”, “Mal Secreto”, “Farinha do Desprezo”, “Revendo Amigos”, and “Hotel das Estrelas”. Its sheer brilliance united the realms of Brazilian music, infusing samba and bossa nova with the fiery essence of rock, classical harmonies, and the improvisational spirit of jazz. As the years passed, a new generation of musicians and fans discovered this gem, fueling its resurgent popularity and inspiring fresh collaborations. Last year, Jards Macalé assembled a formidable new band, igniting stages across Brazil with a tour that now sets its sights on Europe. Together with Gui Held on guitar, the Paulo Emmery on bass, and Thomas Harres on drums, Macalé conjures an exhilarating homage to his illustrious body of work. This live performance embodies the untamed spirit and boundless musical freedom that define this visionary artist, transporting audiences to a realm where the past intertwines with the present in a breathtaking display of artistic prowess.。

This record shows many different places, from some electronics, SambaJazz, Batucada, etc. Surprise. Perhaps almost unknown by many friends at Loronix. This is a work of a serious Jazz Band. This cover edition is sponsored by Varig Airlines that gave this album as a gift to their DC-10 passengers.

Hermeto's first album recorded in Brazil, and his second solo album (the first one was recorded and released in the USA). Performs as composer of "Bebê" "Plin" and "Serearei", arranger, conductor and instrumentalist. The most experimental record of the master where he shows from beautiful themes like the choro Bebê, which is already a classic of his authorship to deconstructions of well-known themes like Asa branca and Carinhoso. On the track Sereiarei you can even hear an "orchestra" of pigs, geese and other animals. The opener track Bebê was sampled in 1994 by Japanese acid-jazz group United Future Organization.

The rare second volume of Tim Maia’s Racional album series from the 70s – even funkier and more harder-edged than the first! The record really follows the heavy soul influence that Tim had been hitting on his early 70s albums for Polydor – a strong dose of American funk and R&B, especially from the east coast indie scene – filtered down beautifully by Maia, one of the few cats in Brazil at the time who really knew how to get the sound right – and how to mix it with the best of his local influences! There’s some wonderful grooves here – definitely of the funky Brazilian type you-d know from the Samba Soul generation, but also much more solidly soul, too – given Tim’s fantastic vocals, and strong ear for putting over a tune!

Wave is the fifth studio album by Brazilian jazz musician Antônio Carlos Jobim, released in 1967 on A&M Records. Recorded in the US with mostly American musicians, it peaked at number 114 on the Billboard 200 chart,[1] as well as number 5 on the Jazz Albums chart. Wave includes an ensemble of elite jazz musicians, including trombonists Urbie Green and Jimmy Cleveland, flautist Jerome Richardson, and bassist Ron Carter. Prolific jazz album cover photographer Pete Turner created the psychedelic solarized cover picture of a giraffe.

The first volume in a survey of a form of Brazilian country music known as música caipira ("hillbilly music") - a stripped-back forerunner to música sertaneja, the Brazilian equivalent to US country & western which in it's contemporary form has come to dominate the domestic music industry in recent decades. This collection covers some of the earliest recordings made by the pioneering folklorist Cornélio Pires at the end of the 1920s, through to records from the 30s, 40s & 50s and the beginning of the 60s. Somewhat rooted in Portuguese troubadour folk traditions, música caipira is typically performed by a duo singing in parallel thirds and sixths, drawing upon a Portuguese-Brazilian style known as moda de viola - with the viola being the viola caipira, a Brazilian-style ten-string guitar that is the core instrument of the music. Born out of the "outback"-style region in north-eastern Brazil, these songs tell stories of pain, love, loss & betrayal - often backed by homemade guitars using invented tunings. Away from the polished pop country & western-stylings of the sertaneja, these recordings could be viewed as the Brazilian equivalent to the roots music of the American dustbowl or Appalachia.

Jorge Ben is someone who needs no introduction. Since his first hits in the 60s, this artist has become one of the greatest icons of Brazilian pop music. His anthems "Mais Que Nada" or "Pais Tropical" are probably two of the most ever-listened Brazilian songs of all time. After being involved in the Tropicalia movement and incorporating the influences of Afro-American funk into his repertoire, with the support of his backing band -Trio Mocotó-, his very personal samba sound also opened up to the new musical trends coming from the States at the edge of the 70s. Boogie and disco music were making headway and soon became popular in the Brazilian market. Jorge Ben's albums recorded at the beginning of the 80s reflect this trend and deliver a good number of outstanding tunes. “Bem-Vinda Amizade” is one of those albums. Recorded in 1981, it is a solid album, start to finish. It comprises the usual samba funk numbers, so characteristic of Jorge Ben, with killer boogie and disco tracks (‘Oé Oé (Faz O Carro De Boi Na Estrada)’, ‘Ela Mora Em…’). And it also contains downtempo soulful slow burners like 'Lorraine' or 'Katarina, Katarina', funky as Hell! An essential addition to any Brazilian music collection.

With this new solar album, Brazilian singer-songwriter Lucas Santtana wishes to re-enchant our life on earth. For his ninth album "O Paraíso" (Paradise), the free heir of the Brazilian tropicália intends to redefine our idea of Paradise. "It is in front of us, we must open our eyes and learn to contemplate it in depth," he explains. The Earth is a living organism also called "biosphere", a unique planet in the solar system where all the conditions are gathered to welcome life. Lucas places life at the heart of his songs and celebrates the collective forces that resist to preserve it. His guitar-vocal songs with bossa nova sounds are mixed with organic sounding percussions, enriched with electronic orchestrations and textures. The Brazilian composer gets closer to his French audience by collaborating with Flavia Coelho, Flore Benguigui (from the band L'Impératrice) or the saxophonist Laurent Bardainne, and by even trying his hand at French on one of his tracks. It's a festive new album, which helps us better understand where we live and with whom we share this heavenly home.

“…this album is very much a product of the current Rio scene (where it was also partly recorded), and it ranks with the best experimental Brazilian rock albums that scene has produced in the last decade” Rod Taylor, Brazil Beat “Personally this has everything for me: finely balanced Brazilian songwriting with an edge of noise.” Andy Cumming, Sounds & Colours “Muito Sol reinforces Ricardo Dias Gomes’ position at the forefront of contemporary Brazilian music.” Joseph Neff, The Vinyl District “Dias toggles effortlessly between melodic gems and more sound-driven excursions…It’s one of my favorite albums of the year” Peter Margasak, Nowhere Street “Gomes is a minimalist at heart, adept at conjuring up intimate worlds from the sparest of gestures” Andy Beta, The Shfl “…a strange beautiful work of skewered pop, and unexpected weirdness” Bob Baker Fish, Cyclic Defrost “…enticingly original music” John Parry, Backseat Mafia “…unveils new, intricate elements with every new play” Ljubinko Zivkovic, Echoes & Dust Hive Mind Records are excited to bring you Muito Sol, the third solo album from Brazilian auteur Ricardo Dias Gomes. The album is a deep, widescreen exploration in classic Brazilian song that brings all the subtlety and delicacy you'd expect from the pioneers of Musica Popular Brasileira coupled with a thoroughly 21st century sensibility and taste for sonic innovation. A respected innovator on the Rio de Janeiro music scene since the mid 90s, Gomes is perhaps best known for his work on the trio of critically-acclaimed albums Caetano Veloso released in the late 00s: Cê (2006), Zii and Zie (2009) and Abraçaço (2012). Playing bass on these modern milestones in post-Tropicalia, and subsequently touring the world with Veloso, inspired Gomes to record his debut album -11 (2015), followed by the mini-album Aa, which featured Arto Lindsay (2018). Muito Sol was recorded between New York, Lisbon & Rio de Janeiro and features a stellar cast of global players such as Jeremy Gustin (drums), Will Graefe (guitars), Ryan Dugre(guitars), Gil Oliveira (percussion), Alex Toth (trumpet), Tiago Queiroz (sax, flute), Jonas Sá (synths), Julian Desprez (guitars), Pedro Sá (guitars) & Shahzad Ismaily (synths); the album is often deceptive in its simplicity and repeated listens reveal layers of intricate instrumentation and arrangement, making listening something like an exciting exercise in excavation. The album was recorded following Gomes' move from Rio to Lisbon and was inspired by the sense of unease that followed the move from a culture of vibrant spontaneity to a more genteel and 'civilised' country. Unlike Gomes' previous solo outings, Muito Sol includes a number of songs that explicitly celebrate Brazil's musical heritage and culture that are based on the Samba Ostinato. The songs, led by Gomes' gentle and dreamy voice, are often reminiscent of classic innovators such as Caetano Veloso, João Bosco or Edu Lobo, though they take unexpected lines of flight into more experimental territory. There is also an element of drone underpinning the whole album which surfaces and takes full charge on Fllux and Transição, before the album is closed by what turns into the molten, distorted piece of raging hardcore, Coração Sulamericano, Ricardo's expression of pride in his Latin American heritage. Muito Sol is a sun drenched dream from start to finish and album to be bathed in.

For their first multi-artist compilation, Music From Memory take us on a trip to the heart of the Amazon rainforest. Outro Tempo: Electronic and Contemporary Music From Brazil, 1978-1992 is a double LP that explores the outer reaches of Brazilian music, where indigenous rhythms mix with synthesizers and where MPB mingles with drum computers. As Brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of Brazilian music and culture. They embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. At the same time they referenced the musical forms and spirituality of indigenous tribes from the Amazon. The music they produced was a complex and mesmerising tapestry that vividly evoked Brazilian landscapes and simultaneously reached out to the world beyond its borders.
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The product of extensive research, this compilation is a unique introduction to this visionary music and features many fresh discoveries in a country well trodden by record diggers. It gathers tracks from obscure albums that have for too long been neglected by even the most avid collectors of Brazilian music. It includes now highly sought after music by Andréa Daltro, Maria Rita, and Fernando Falcão, as well as unknown gems like those of Cinema, Carlinhos Santos, and Anno Luz. This is an essential release that reveals a broader spectrum of Brazilian music, striking a unique sonic signature that is full of innovation, experimentation, and beauty.

Compiled by John Gómez and featuring extensive liner notes, Outro Tempo showcases this overlooked corner in Brazil’s rich music history for the first time.

Recorded and originally released only in Argentina in 1972, the album shows an exquisite and delicate dialogue between the guitar of Sebastião Tapajos and the percussion provided by Pedro Dos Santos that generates ambiences of unusual beauty and depth.

It is a necessary addition to the much-hailed Pedro Dos Santos album “Krishnanda” in the collection of anyone with an interest in the most adventurous sounds of Brazil and also an essential work in the discography of Sebastião Tapajos.

Includes the killer afro-samba 'Mungangá' and the hypnotic groover ‘Sorongaio’.

An amazing bit of Brazilian samba funk that also touches on MPB, bossa nova, jazz… Originally released in 1976, this sought-after gem opens with the beautiful version of Burnier & Cartier’s “Só Tem Lugar Prá Você”, building up a mellow, airy vibe that stays throughout the entire album. Vocal harmonies and arrangements and excellent guitar work are masterfully combined creating a joyful journey featuring the undisputed talent of Raymundo Bittencourt, Octávio Burnier and Paulo Moura. This release is the result of a collaboration between Vampisoul and Glossy Mistakes. First time vinyl reissue.

The first volume in a survey of a form of Brazilian country music known as música caipira ("hillbilly music") - a stripped-back forerunner to música sertaneja, the Brazilian equivalent to US country & western which in it's contemporary form has come to dominate the domestic music industry in recent decades. This collection covers some of the earliest recordings made by the pioneering folklorist Cornélio Pires at the end of the 1920s, through to records from the 30s, 40s & 50s and the beginning of the 60s. Somewhat rooted in Portuguese troubadour folk traditions, música caipira is typically performed by a duo singing in parallel thirds and sixths, drawing upon a Portuguese-Brazilian style known as moda de viola - with the viola being the viola caipira, a Brazilian-style ten-string guitar that is the core instrument of the music. Born out of the "outback"-style region in north-eastern Brazil, these songs tell stories of pain, love, loss & betrayal - often backed by homemade guitars using invented tunings. Away from the polished pop country & western-stylings of the sertaneja, these recordings could be viewed as the Brazilian equivalent to the roots music of the American dustbowl or Appalachia.

Originally released in 1972 in very limited numbers. A trip of an album rich in percussive energy and African chant - made in Brazil! The sounds of continents colliding in a young, funky & soul fuelled 70s ....this is one is on full burn from start to finish ! This the only album by Massáhi Tribe and it became notorious for it’s unique sound and the almost complete lack of information about its creators. Check!

the Label say:

'This is a sound made in Brazil. All the members are Brazilians.
But the goal is to show the young african music, with all his distinctions that features the origin of the black continent’s music.

In this record we launch several curious things. Starting from a rhythmic draw, based on the camel steps that match the division 4/4, on the same line of YÁ YÁ YÁ and SOUL MUSIC, which was given the name of OGA, this, because in Lagos, Nigeria’s capital, is an intimate treatment among friends. There, a man feels good when compared to a OGA (camel).
Purposely and proudly we launch this new and different LP, not only dedicated to all record collectors in the world but also to all party lovers, nights in club, and even for who’s loving, because on both sides, there aren't intervals. It’s a contagious and crazy rhythm."

This is how, in 1971, Embaixador and Maestro João Negrão described the record on his back cover. These words did not aged a bit.

We are very happy and proud to announce, 44 years later, the first 100% official reissue of this genuine work that became legendary and considered as the "Holy Grail" of Brazilian music among collectors around the world.'

Based in the Brazilian capital of São Paulo, the TORMENTA collective has long offered an alternative vision of the city's rich and colorful musical heritage. Operating as an ongoing series of DIY parties, creative agency and record label, TORMENTA has welcomed challenging sounds into São Paulo and released music from a cross section of Brazilian artists, including Fkoff1963, 177th & Digestivo. Their musical output is unrestrained: pop edits and unhinged hard dance rubs against errated heavy metal and lifted ambient drone. Anything's possible, as long as there's a social conscience and a middle finger to expectation. In 2019, TORMENTA put together a short film for the online edition of Nyege Nyege Festival. Since the crew is made up of obsessive horror movie fans, the direction was clear. "O Som do Labirinto" (The Labyrinth's Sound), is a terrifying and psychedelic audiovisual experience that's centered around a journalist attempting to examine a series of mysterious gatherings. Casting a side-eye to VICE's notorious series of fish out of water documentaries, the film drags its protagonist to hell through a series of grueling mental trials, all accompanied by TORMENTA's bloody toolbox of tortuous sounds. This full-length soundtrack finds the collective exposing their deep horror movie knowledge and finally flexing their film score muscle. The crew's ragged club DNA is still present, but mainlined into a Frankenstein's monster of John Carpenter synths, haunted piano loops and gruesome Lustmord-esque dark ambient drones. Alada's 'Running' straps a familiar hoover bass to bloodcurdling low-end rumbles and sparse, propulsive kicks; MTMA's 'O Pesadelo' sounds like broken clocks and music boxes at the "Evil Dead" cabin; 177th's 'Together' is a nightmarish beatless rave anthem that's like Lorenzo Senni on a bad trip; and Bruxax's 'Scream' is a full-on sludge metal freak-out that could sit alongside a Rob Zombie movie. The "O Som Do Labirinto OST" is Brazilian experimental club music in corpse paint holding a jack-o-lantern and weilding a bloody knife. Be afraid.

Caracol is one of the first examples of fusion between Brazilian percussive music and electronics. Synthesizers, samplers and sequencers were still a novelty in Brazil in the 1980s, but João de Bruçó and R.H. Jackson created an avant-garde masterpiece.

Using popular references and an eagerness to escape any retro / stylistic cliché that came to haunt Brazilian youth music at that time, they plunged into an audacious, intuitive and improbable sound journey in Caracol.
This rare adventure of Brazilian music was released independently in 1989, financed by the artists themselves. The original small pressing sold-out, belonging now to record collectors around the planet. For the first time Caracol is re-released on vinyl, with two extra tracks found after decades!

Remastered from the original tapes, this reissue includes a reproduction of the original graphic art, new testimonies from João de Bruçó and RH Jackson and a long article signed by Bento Araujo, author of the book series Lindo Sonho Delirante, which investigates audacious and fearless music created in the Brazilian underground.