The Qobuz Ideal Discography

International bestselling band The Buena Vista Social Club introduced Son Cubano, the first Afro-Cuban sound, to music lovers across the globe. However, their record was lucky to have ever come into existence at all. This album (which went on to sell over 8 million copies worldwide) was recorded in 1996 at the Egrem studio in Havana and was organised at the very last minute, replacing another session. Initially, the plan was to bring together Cuban and Malian musicians, but it later transpired that the African musicians had not received their visas. The altered project saw Nick Gold, founder of the British label World Circuit, Ry Cooder, the famous American producer and guitarist, and Juan de Marcos González, conductor of the Afro-Cuban All Stars who had just released their first tribute album to the biggest Cuban bands of the 50s, record an album with local musicians⁠—possibly one of the wisest decisions of their career.The record features some of the best Cuban musicians, including bassist Orlando 'Cachaíto' López, trumpeter Manuel 'Guajiro' Mirabal and Barbarito Torres, an expert on the laúd, a small Cuban lute, as well as some veteran singers who came out of retirement to record these tracks. Compay Segundo (89), Pio Leiva (80), Ibrahim Ferrer (69), Omara Portuondo (66) and Eliades Ochoa (50) all gathered around the piano played by Ruben Gonzalez (78), who was also recording another album during this time.Called the Buena Vista Social Club in reference to the famous Havana club where traditional musicians used to meet prior to the 1930s, the album was discreetly released in 1997. Gradually, glowing reviews and positive word-of-mouth attracted the attention of the general public, which was further heightened by the Grammy Award they won that same year. The alchemy between the seasoned vocals, the genius of the musicians and the ever-fresh flavour of these forgotten hits is simply perfect. The result is strikingly authentic, and it’s impossible not to feel the genuine joy felt by these talented and mischievous musicians.In 1998, the original BVSC line-up put on three concerts: two in Amsterdam and one in Carnegie Hall in New York. Wim Wenders, friend of Ry Cooder, was behind the camera during these exceptional performances. He was also behind the recording sessions in Cuba for Ibrahim Ferrer’s first solo album, which was the main source of material for the film Buena Vista Social Club. Released in 1999, this documentary served to cement this short-lived group’s status as legends.For most of these artists, this album marked the start of short, international careers. Compay Segundo and Ruben Gonzalez died in 2003, Ibrahim Ferrer in 2005 and Orlando 'Cachaíto' López in 2009. Some of the original band members continued to tour the world under the name Orquesta Buena Vista Social Club and, in October 2015, they were the first Cuban musicians to be welcomed at the White House following the decline of the relationship between Cuba and the USA, demonstrating the huge cultural importance of this record. © Benjamin Minimum/Qobuz

Chega de Saudade (1959) is the first album by Bahian musician João Gilberto, whose reputation as a genius had already begun to grow following his studio work with other artists. Chega de Saudade didn’t just kick-start João Gilberto’s solo career, it also gave rise to Bossa Nova, a musical genre that set Brazilian music on a whole new trajectory. Soft vocals, inspired by American jazz, combined with a new kind of guitar rhythm (which would eventually be termed "bossa rhythm") were the definitive elements that consolidated his album as the spark that started this new musical movement.This new way of playing the instrument became popular among the younger generations of the time and inspired musicians like Gilberto Gil, Caetano Veloso, Jorge Ben, Chico Buarque and Milton Nascimento. At the same time, João Gilberto also managed to win over the older generation with Chega de Saudade: although revolutionary for its time, the album didn’t forget the musical roots of Brazil. His repertoire includes compositions by renowned artists such as Ary Barroso, Geraldo Pereira and Dorival Caymmi, with each piece of music being  given a fresh new twist.A year before his solo debut, João Gilberto got involved with the album Canção de Amor Demais by Elizeth Cardoso, playing the guitar in the song Chega de Saudade, composed by Vinicius de Moraes and Tom Jobim. In this record, you can already hear the beginnings of the "bossa rhythm". However, it wasn’t until the release of the LP Chega de Saudade and João Gilberto’s version of the song that Bossa Nova was finally consolidated. The album was produced by Aloysio de Oliveira and features arrangements and orchestral direction by Tom Jobim, making this album an instant success, both critically and commercially. Including classics such as Desafinado, Chega de Saudade and Bim Bom, who can be surprised? © Nathália Padua/Bananas

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Chega de Saudade (1959) is the first album by Bahian musician João Gilberto, whose reputation as a genius had already begun to grow following his studio work with other artists. Chega de Saudade didn’t just kick-start João Gilberto’s solo career, it also gave rise to Bossa Nova, a musical genre that set Brazilian music on a whole new trajectory. Soft vocals, inspired by American jazz, combined with a new kind of guitar rhythm (which would eventually be termed "bossa rhythm") were the definitive elements that consolidated his album as the spark that started this new musical movement.This new way of playing the instrument became popular among the younger generations of the time and inspired musicians like Gilberto Gil, Caetano Veloso, Jorge Ben, Chico Buarque and Milton Nascimento. At the same time, João Gilberto also managed to win over the older generation with Chega de Saudade: although revolutionary for its time, the album didn’t forget the musical roots of Brazil. His repertoire includes compositions by renowned artists such as Ary Barroso, Geraldo Pereira and Dorival Caymmi, with each piece of music being  given a fresh new twist.A year before his solo debut, João Gilberto got involved with the album Canção de Amor Demais by Elizeth Cardoso, playing the guitar in the song Chega de Saudade, composed by Vinicius de Moraes and Tom Jobim. In this record, you can already hear the beginnings of the "bossa rhythm". However, it wasn’t until the release of the LP Chega de Saudade and João Gilberto’s version of the song that Bossa Nova was finally consolidated. The album was produced by Aloysio de Oliveira and features arrangements and orchestral direction by Tom Jobim, making this album an instant success, both critically and commercially. Including classics such as Desafinado, Chega de Saudade and Bim Bom, who can be surprised? © Nathália Padua/Bananas