Albums

€18.99

Bossa Nova & Brazil - Released January 22, 2016 | Uns Produções Artísticas ltda. - Gege Produções Artísticas ltda.

Distinctions 4F de Télérama
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Bossa Nova & Brazil - Released January 1, 1967 | Philips

Distinctions The Qobuz Ideal Discography
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Bossa Nova & Brazil - Released January 1, 1971 | Philips

Distinctions The Qobuz Ideal Discography
In 1971, while he was recording the album Construção, Chico Buarque had just spent 18 months in exile in Italy because of the dictatorship. He returned to a Brazil still under military rule. Censorship was rife, and every song to be broadcast was inspected. So as not to risk a ban, Buarque, who had no intention of mincing his words, used metaphors and roundabout stylistic methods to describe his peers' feelings towards the forced march that the government was leading them on. And so, the title piece, beautifully orchestrated by the foremost arranger of the Tropicalia movement, Rogerio Duprat, describes the day of a construction worker who leaves his family to work on the building site where he will die. The scene is repeated three times, varying slightly each time, to underline the alienation of the working class. Elsewhere, the polished words describe the dark feelings created by the times. These literary merits come alongside melodic and orchestral deftness that makes this a truly capital work. Modernist but fundamentally Brazilian, Chico Buarque elegantly deploys samba, romantic song and bossa nova. In this period he built fertile working relationships, producing co-compositions with Tom Jobim and Vinicius de Moraes: and here we see some of the fruits: Olha Maria and Samba de Orly. But these solo compositions stand up quite well by comparison and, thanks to Robertno Menescal's painstaking production, every piece is rendered with subtlety, and the whole thing forms an indispensable and inspiring work. © BM/Qobuz
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Bossa Nova & Brazil - Released January 8, 2015 | Ariola

Distinctions The Qobuz Ideal Discography
Released in 1999, Na Pressão (Under Pressure) was a key album in Lenine’s career and the symbol of the successful transition of mpb (música popular brasileira – Brazilian popular music) into the new millennium. This musician from Recife is the natural heir to Chico Science, who passed away in 1997 and was the leader of the band Nação Zumbi and instigator of the mangue bit movement that promoted and practiced a mix of cultural heritage and modernity. On his second solo album, Lenine perfectly synthesises the ingredients and eclectic and asserted influences that make up his grammar as a composer. Rural traditions from Pernambuco, international urban music (rock, hip-hop, electro-pop), languid ballades inherited from bossa nova and collages inspired by the Tropicália movement: everything blends or takes turns in an unexpected and exciting flow. Twenty years later, these compositions have proved timeless, the interpretation and arrangements still sound good and the production, which cleverly blends acoustic sounds and digital effects, has not aged one bit. A postmodern classic that could only originate from Brazil, a country where external influences are expertly recycled without losing its own identity. © BM/Qobuz
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Bossa Nova & Brazil - Released April 1, 2014 | Sony Music Entertainment

Distinctions Sélection JAZZ NEWS
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Bossa Nova & Brazil - Released February 13, 2007 | Odeon

Distinctions The Qobuz Ideal Discography
Much like the reunion of artists from Bahia under the Tropicalia movement (Caetano Veloso, Gilberto Gil, Tom Zé and Os Mutantes) at the end of the sixties, the Clube da Esquina united the main popular music creative forces from the state of Minas Gerais in 1972. Next to Milton Nascimento, his lifelong friends, brothers Lô and Marcio Borgès, and arrangers Eumir Deodato and Wagner Tiso, redefined the frontiers of Brazilian expression. Lamentations with accents of pop, inspirations from regional traditions, nods to flamenco and jazz-rock experiments − no path is left unexplored to express the boiling creative energy of these young talents with vastly dissimilar destinies. Clube da Esquina had a lasting impact on its country’s music. And while the Borgès brothers’ careers remained limited to Brazil for the most part, Nascimento marked his era as much in jazz as in pop. Far from an anecdotal initiative, Clube da Esquina is one of the most tangible proof of his immense talent. © BM/Qobuz
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Bossa Nova & Brazil - Released January 1, 2014 | EMI Music Brasil Ltda

Distinctions The Qobuz Ideal Discography
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€14.49

Bossa Nova & Brazil - Released March 12, 2010 | Chaos

Hi-Res Distinctions Hi-Res Audio
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Bossa Nova & Brazil - Released March 31, 2009 | RCA Records Label

Distinctions The Qobuz Ideal Discography
Angenor de Oliveira, known as Cartola, is a linchpin of Brazilian music. Co-founder in Rio, in 1928, of the prestigious Estação Primeira de Mangueira samba school, for which he wrote many classics, he spent most of his life working anonymously. Even if he wrote, during the 1930s, hits for the international star Carmen Miranda and for the crooner Francisco Alves, Cartola spent more time working as a mason or a window cleaner than under the spotlights. He had disappeared from the music scene when in 1950 a journalist recognized him in the streets and put him back on the tracks of the music life. The composer bounces back and finds love. The Nós Dois song, present on this disc, has been composed for his wedding with singer Dona Zica. With her, Cartola opens a samba establishment, the Zicartola, which becomes, at the start of the 1960s, one of the favorite havens of the young bossa nova composers. Cartola’s discography did not begin to develop until 1974, when the samba player was 65. Verde Que Te Quero Rosa is his third album, between nostalgic romance and dashes of pure rhythm, it harbors a collection of tender songs, sweet and irresistibly rousing sambas. His title pays homage to the colours he chose to represent the Mangueira, the green and pink which still coat the famous school. He was often told that these tones didn’t match, but his answer was irrefutable: green symbolizes hope, and pink love. Two values that have always undeniably brought him luck. © BM/Qobuz
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Bossa Nova & Brazil - Released June 17, 2003 | RCA Records Label

Distinctions The Qobuz Ideal Discography
This very evocative 1965 recording session was a cause for celebration not only among critics but among the bossa nova-crazed audiences of Brazil and the U.S, and it sold quite well. Donato is a jazz pianist first, and his allegiances in harmony and melody come from there first and foremost. But rhythmically and in his phrasing, he comes from the generation of Brazilian musicians who developed the bossa nova as an art form. His touch is light, his settings are lush and laid-back, and his playing is as much or more from his left hand as his right. Solos on these records are wonderfully improvised, but they reflect the sweet, gorgeous melodies on the front line of these tunes. As such, Donato comes across as an elegant pianist and ensemble player, establishing his individual touch as a leader in that left hand rhythmic bent where he loves those shaded keys. His finest compositions here are his own: the sensual "Amazon," the slightly sassy and savvy "It Didn't End," and his reading of Luiz Bonfá's "Samba de Orfeu," which rivals the original for its ambience and texture with a gorgeous string arrangement courtesy of conductor Claus Ogerman. This is one of Brazil's more moving and beautiful bossa albums, and should not be overlooked by recent fans of the genre or by jazz fans interested in the exotic side of the music. ~ Thom Jurek
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Bossa Nova & Brazil - Released January 1, 2012 | Universal Music International Ltda.

Distinctions 3F de Télérama
Caetano Veloso's Abraçaço is the final album in the trilogy that began with Cê in 2006 and continued with Zii e Zie in 2010. These recordings aren't related conceptually, but musically. He collaborated with the same trio of younger players from the Carioca pop fringe -- guitarist Pedro Sá (who co-produced the set with Veloso's son Moreno), drummer Marcelo Callado, and bassist Ricardo Dias. These songs are rangey, full of compelling sounds and unexpected dynamic and textural shifts. The word "abraçaço" is Portuguese for "big hug." Veloso has embraced all the music between his early tropicalia style and the newer, edgier indie pop of Brazil, and treads that winding path throughout. Opener "A Bossa Nova é Foda" (translation: "Bossa Nova Is Fucking Great") has little in common with what we normally associate with the genre. The only real references to it are brief instrumental quotes from tunes by Tom Jobim and Vinicius Moraes in the bridge. Bouncing guitars and clipped snares are angular and edgy as Veloso employs both his falsetto and a lower, nearly guttural form of expression -- akin to Tibetan throat singing. In the stellar ballad "Estou Triste," Veloso's plaintive baritone slides gradually toward his falsetto, transforming the wealth of the tune's emotion in the process. A gently pulsing electric guitar becomes more insistent and spirals in a solo as a painterly hi-hat evolves into near rolling thunder. The title track reaches into cumbia and funk. The stinging, fuzzed-out guitar solo pushes the envelope but it stays in the pocket of a hooky melody. "Quero Ser Justo" is a lithe, poetic romantic ballad with a sharp, bubbling bassline. The drums and rhythms in "O Império da Lei" come from northeastern Brazil. While the song is bright, even cheerful in tone, its lyric unveils a dark tale of politically motivated murder with only the guitars hinting at the turbulence in the narrative. The militant "Um Comunista" uses dub reggae, jazz, and indie rock and folk music in a cannily unified groove. "Funk Melódico" is a clattering, noisy exercise in multiple rhythms and vocal percussion; it actually recalls some of the wild music found on 1989's Estrangeiro. Bossa nova gets a more formal embrace on "Quando o Galo Cantou." Though the tune is laid-back and generally more settled, it does hold some (gentle) melodic and dynamic surprises. The set closes on a quieter note with "Gayana," a slow, processional romantic ballad with keyboard, guitar, and malleted cymbals underscoring each tenderly sung line. Abraçaço is the most sophisticated, alluring, and captivating offering in this trilogy. Not content to rest on his laurels, Veloso remains a vital, restless artist. ~ Thom Jurek
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Bossa Nova & Brazil - Released January 18, 2010 | El Records

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Bossa Nova & Brazil - Released November 26, 2010 | Rhino - Warner Bros.

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Bossa Nova & Brazil - Released August 20, 2012 | Frémeaux & associés

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Bossa Nova & Brazil - Released August 15, 2014 | Portrait - Sony Masterworks

Hi-Res Booklet
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Bossa Nova & Brazil - Released June 9, 2014 | Saga

€6.99

Bossa Nova & Brazil - Released February 17, 2014 | Mr Bongo

€9.99

Bossa Nova & Brazil - Released March 29, 2013 | Brazilian Classics

Bossa Nova & Brazil - Released June 29, 2010 | Now Again Records

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€181.99

Bossa Nova & Brazil - Released January 1, 2011 | EMI Brazil