Mario Castro Neves & Samba S.A.

Mario Castro-Neves was a pianist, arranger, composer, and bandleader from one of the most musical families in Brazil. He was the brother of guitarist Oscar, bassist Iko, drummer Leo, and clarinetist Zeca. He was a prolific sideman in the 1950s and '60s, and he led bands and composed for others during the '60s. Samba Jovem (RCA Victor/Vik) was released in 1966 by his band Jovem Braza, which included bassist Novelli (Djair de Barros e Silva) and members of teen rock band the Fevers. 1967's Mario Castro-Neves & Samba S.A. is globally celebrated as a classic, melding bossa, samba, and jazz. He cut three more albums during the '70s: Brazilian Mood (1973), The Latin Band of Mário Castro-Neves (1975), and Stop, Look & Listen (1977). He toured with many artists from Brazil and the U.S. and composed for Brazilian acts. Castro-Neves earned a professorship at Princeton University during the '80s and led the non-recording quintet Subtle Chemistry. In the '90s, he worked as a producer and keyboard programmer on soul, funk, and hip-hop records at New Jersey's TC Studios. Early in the 21st century, he produced Someday (2002) and Love Dance: The Ballad Album (2003), both by jazz vocalist Ithamara Koorax. He assembled a new version of Samba S.A. to record 2004's On a Clear Bossa Day on JSR Records. His final recorded appearance was on Cesar Machado's 2014 album Made for Us, playing piano and arranging. Castro-Neves was born into a musical family in 1935 in Rio de Janeiro. He was an older brother to Leo (later a drummer and a lawyer), and the triplets Zeca (clarinetist), Iko (bassist and architect), Oscar (guitarist, arranger, composer, and music producer), and Pepê (singer). Castro-Neves began piano studies at a young age while attending music school, and studied with Austrian conductor Hans Graf. After graduating in the early '50s, he formed the American Jazz Combo with his triplet brothers. They regularly performed on Rádio Difusora in Petrópolis. They added vocalist Manuel Gusmão (who was later a session bassist on albums by Jorge Ben, Flora Purim, and Wanda Sá). The group's repertoire includes the pianist's compositions as well as American jazz and pop standards. In 1959, his songs "A Menina ea Rosa" and the samba "Mamadeira Atonal" were performed by Ronaldo Bôscoli at the I Festival de Samba-Session. The program also featured Carlos Lyra, Nara Leão, and Sílvia Telles, as well as the Castro-Neves brothers. In November 1959, he traveled to New York City and participated in the historic bossa nova concert at Carnegie Hall, kicking off the movement in the U.S. During the early part of the '60s, Castro-Neves studied chemistry at university and graduated in 1965. He promptly got work as a pianist at the Copa and formed the band Conjunto Jovem Brasa. After only a handful off gigs they were signed to RCA and released Jovem Braza Apresenta Samba Jovem in 1966. Following session dates with Elza Soares (Com a Bola Branca) and Rosa Maria (Uma Rosa Com Bossa), he formed Mário Castro Neves & Samba S.A. They issued an eponymous 1967 offering that also appeared on RCA. The album is regarded as a classic for its meld of jazz, samba, and bossa at the dawn of Musica Populaire Brazil (MPB) -- and critics compared them to both Quarteto Em Cy and Sergio Mendes & Brasil 66. In 1968 he produced, arranged, and played on Tito Madi's Em Nova Dimensao, and in 1970 he produced and arranged Pipilantragem's Mini-Turma da Pilantragem. He traveled abroad, leading Elza Soares' backing band in performances across Italy and England. He remained in London for several years and in 1973 led an orchestra for the landmark recording Brazilian Mood on Decca. After leaving England in 1974, he traveled to Canada to work and live. In 1975, he assembled another band and issued The Latin Band of Mário Castro-Neves. In 1977, he moved to the United States and released the jazz-R&B-samba fusion set Stop, Look & Listen. During the '80s Castro-Neves taught composition, orchestration, and conducting at Princeton University. He headed the research department for Latin American music and founded the performing jazz band Subtle Chemistry, a group partially responsible for guitarist Pat Martino's return to activity as a leader in 1984. During the '90s, Castro-Neves built a studio to compose radio and television jingles with Tony Camillo. This pair co-produced several albums, including singer Angel Sessions' Love Ride. In 2001, his album Mário Castro Neves & Samba SA was remastered for the first time and reissued on CD Arnaldo DeSouteiro. The set's 12 original tracks were supplemented with his own "Costa Brava," Dorival Caymmi's "Rosa Morena," Tom Jobim's and Dolores Duran's "Estrada Do Sol," and Chico Buarque's "Carolina." In November 2001, Brazilian Mood was re-released in Japan on Decca/Universal. In February 2002, Castro-Neves participated as pianist, composer, and arranger on Ithamara Koorax's Someday, and in 2003 played on her Love Dance: The Ballad Album. In 2004 he reorganized Samba S.A. with Manuel Gusmão, Cesar Machado, Koorax, and Ana Leuzinger. Castro-Neves and producer Arnaldo DeSouteiro cut On a Clear Bossa Day. The set included a new version of the sophisticated title track and the first recorded version of the iconic 1955 song "Mamadeira Atonal," co-written with Ronaldo Bôscoli. It would be his final album. After retiring from teaching, he retired from music professionally. He spent his final years with his wife Mara and passed away in 2020.
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