Dec 27, 2016

RhoDeo 1652 Roots

Hello, last Christmas i gave you my heart and 32 years later it finally broke, its been a tough year for music superstars and this time like in 1970 it wasn't excesses but life itself that took them from us (Bowie (cancer), Maurice White (parkinsons), Prince (death by silly religious cult), Leonard Cohen (old age) and now George Michael decided to kick the bucket , he was a great singer who gave his heart away...

The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.

Today's artist is a Brazilian musician. He has over 55 releases, and plays bossa nova heavily crossed with jazz and funk. He was nominated for an Academy Award for Best Original Song in 2012  Our man is married to Gracinha Leporace, who has performed with him since the early 1970s. Mendes has also collaborated with many artists through the years, including the Black Eyed Peas, with whom he re-recorded in 2006 a version of his breakthrough hit "Mas Que Nada"..... N'Joy

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For most of the second half of the '60s, Sergio Mendes was the top-selling Brazilian artist in the United States, charting huge hit singles and LPs that regularly made the Top Five. His records with his group, Brasil '66, regularly straddled the domestic pop and international markets in America, getting played heavily on AM radio stations, both rock and easy listening, and he gave his label, A&M, something to offer light jazz listeners beyond the work of the company's co-founder, Herb Alpert. During this period, he also became an international music star and one of the most popular musicians in South America.

Dance Moderno Born the son of a physician in Niteroi, Brazil, Mendes began studying music at the local conservatory while still a boy, with the intention of becoming a classical pianist. He was living in Rio de Janeiro as the bossa nova craze hit in the mid- to late '50s, and at age 15, he abandoned classical music in favor of bossa nova. Mendes began spending time with other young Brazilian musicians in Rio de Janeiro, absorbing the musical ferment around him in the company of such figures as Antonio Carlos Jobim and João Gilberto. Their company was augmented by the periodic visits of American jazz giants such as Stan Getz, Dizzy Gillespie, Charlie Byrd, Paul Winter, Roy Eldridge, and Herbie Mann. Mendes became the leader of his own group, the Sexteto Bossa Rio, and was heard with them by many visiting musicians.

He made his first recording, Dance Moderno, in 1961 on the Philips Records label. By 1962, Mendes and his band were playing at Birdland in New York in an impromptu performance with Cannonball Adderley (who was officially on the bill). Mendes and Adderley cut an album together for Capitol Records that was released later that year.
Bossa Nova York His early music, represented on albums like Bossa Nova York and Girl from Ipanema, was heavily influenced by Antonio Carlos Jobim, on whose recording Mendes worked. Mendes liked what he had found on his visit to New York, and in 1964 he moved to the United States, initially to play on albums with Jobim and Art Farmer, and formed Brasil '65 the following year. The group recorded for Capitol without attracting too much notice at first. In 1966, however, Mendes and his band -- renamed Brasil '66 -- were signed to A&M Records and something seemed to click between the group and its audience.

Equinox The group, consisting in its first A&M incarnation of Mendes on keyboards, Bob Matthews on bass, João Palma on drums, Jose Soares as percussionist, Lani Hall (aka Mrs. Herb Alpert and A&M's co-founder) on vocals, and Janis Hansen on vocals, was successful upon the release of its first album for the label, with its mix of light jazz, a bossa nova beat, and contemporary soft pop melodies. Their self-titled debut LP rose to number six nationally, propelled by the presence of the single "Mas Que Nada." Their second album, Equinox, yielded a trio of minor hits, "Night and Day," "Constant Rain (Chove Chuva)," and "For Me," but their third, Look Around, rose to number five behind a number three single of the group's cover of the Beatles' "Fool on the Hill" and an accompanying hit with "Scarborough Fair," based on the Simon & Garfunkel version of the folk song. Crystal Illusions, from 1969, featured a version of Otis Redding's "(Sittin' On) The Dock of the Bay" and the hit single "Pretty World." Depending upon one's sensibilities, these covers -- especially "Fool on the Hill" and "Scarborough Fair" -- were either legitimate, internationalized pop versions of the originals, or they were "elevator music."

During this period, Mendes also made several recordings for Atlantic Records separate from his A&M deal, principally aimed at a light jazz audience, and several of them in association with Jobim. Art Farmer, Phil Woods, Hubert Laws, and Claire Fisher were among the jazz figures who appeared on these records, which never remotely attracted the same level of interest or sales as his records with Brasil '66. Mendes successfully walked a fine line between international and domestic audiences for most of the late '60s until the end of the decade. Ye-Me-Le was notably less successful than its predecessors, and its single, "Wichita Lineman," was only a minor hit. Mendes seemed to lose his commercial edge with the turn of the decade, and his next two A&M albums: Stillness, a folk-based collection that contained covers of Joni Mitchell's "Chelsea Morning" and Stephen Stills' "For What It's Worth," and Primal Roots, an album of traditional Brazilian music, failed to make any impression on the charts whatsoever.

The group moved to the much smaller Bell Records label in 1973, and then Mendes jumped to Elektra for his first official solo album, Sergio Mendes. He relaunched his recording career two years later with Sergio Mendes & Brasil '77 to little avail, and then, after a five-year layoff from the public eye, Mendes returned to A&M in 1982. His 1983 comeback album, Sergio Mendes, was his first Top 40 album in nearly a decade and a half, and was accompanied by his biggest chart single ever, "Never Gonna Let You Go," which hit number four. Since then, Mendes has had limited chart success with the single "Alibis" and the LP Confetti. He remained a popular figure internationally, even when his record sales slumped in America, as evidenced by the fact that his entire A&M catalog (and much of his Atlantic work) from the '60s has been reissued on CD in Japan. Indeed, his popularity in the rest of the world, versus America, was even the basis for a comic vignette in one episode of the television series Seinfeld.

During the '90s, Mendes performed with a new group, Brasil '99, and more recently, Brasil 2000, and has been integrating the sounds of Bahian hip-hop into his music. In 1997, A&M's British division released a remastered double-CD set of the best of Mendes' music from his first seven years on the label. Most of Mendes' back catalog was reissued as the 21st century dawned, and in 2006, Concord Records released Timeless, his first album of newly recorded material in eight years. A mere two years later, Encanto appeared, including co-productions from of Black Eyed Peas. A third album on Concord, Bom Tempo, was released in 2010. After appearances at numerous festivals and a global tour, Mendes took a short break before beginning to record again. He signed to Sony's revived OKeh imprint and cut a completely new set of songs in Los Angeles, Salvador, and Bahia, with a host of special guests and old friends, including John Legend,, and Brazilian artists such as Carlinhos Brown, with whom he cut the first single, "One Nation," issued on One Love, One Rhythm: The 2014 FIFA World Cup Official Album. Mendes' album Magic was released in September.

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Sergio Mendes 1965 classic is a genre-defining album, capturing straight up Bossa Nova with a stellar line-up of seasoned musicians including Hubert Laws, Art Farmer, Phil Woods and a special guest spot for the famed Antonio Carlos Jobim, a purely instrumental album. This was part of the Exotic culture that your grandparents were into in the early 60's. My favorite track has to be the Girl From Impanema, practically a standard in the early to mid 60's. This is nice as background music for a quiet dinner party, or if you're just sitting back and reading from your Kindle that you got from Amazon. The liner notes indicate that there was more material that came from this meeting, but was unfortunately destroyed in a NJ warehouse fire in '78, where Atlantic had all their demos and sessions work stored.

Sergio Mendes - The Swinger From Rio (flac  215mb)

01 Maria Moita 3:27
02 Sambinha Bossa Nova 3:10
03 Batida Diferente 3:23
04 So Danco Samba 3:08
05 Pau Brasil 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

Sergio Mendes - The Swinger From Rio  (ogg 94mb)

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The pure essence of Sergio Mendes and Brasil 65 is captured beautifully on this collection of tracks recorded in the famed "El Matador." From the random china clang, to the spare truck driving by outside, every subtle nuance has been preserved, the piano is powerful, complex and subtle at the same time.... oh along with some pretty amazing musical moments. In Person at El Matador shines with gorgeous Brazillian/Jazz arangements by Sergio, and exotic vocals by Wanda De Sah... A perfect addition to any cocktail music list.

Sergio Mendes e Brasil 65 - In Person At El Matador   (flac  198mb)

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
08 Black Orpheus Medley 6:13
09 Arrastao 3:52
10 Vai De Vez 2:56
11 Caminho De Casa 2:46

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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.

Sergio Mendes & Brasil '66 - Herb Alpert Presents (flac 165mb)

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 Beberr) 2:28
08 Slow Hot Wind 2:32
09 O Pato (O Pawtoo) 1:58
10 Berimbau (Ber-Im-Bough) 3:15

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The hype-laden title undoubtedly refers to Sergio Mendes' move to America two years before this album's release, settling in Los Angeles, where this record was made. Clearly he was out to make it big in the U.S.A., for this album tries to move a bit away from Brazil by spotlighting Mendes' jazz and pop piano against the elaborate charts of Clare Fischer, Bob Florence and Dick Hazard. There are contributions from the best-known Brazilians (Edu Lobo, Jobim of course) as well as up-to-the-minute pop tunes "Monday, Monday" and "Don't Go Breaking My Heart" and American songbook material like "Here's That Rainy Day" and "Girl Talk," all served up in airplay-sized packages mostly under three minutes in length. Inevitably, then, Mendes' piano doesn't get much room to breathe, but the charts are quite interesting; Florence's are the most big-band-oriented, Fischer's are the most harmonically challenging, and Hazard's lush offerings are the signposts of Mendes' future with Brasil '66. Though an encouraging step forward, Mendes' first big strike was still several months away.

Sergio Mendes - The Great Arrival     (flac  194mb)

01 The Great Arrival (Cheganca) 2:17
02 Monday, Monday 2:30
03 Carnaval 2:38
04 Cancao Do Amanhecer 2:48
05 Here's That Rainy Day 2:23
06 Boranda 2:40
07 Nana 2:33
08 Bonita 3:21
09 Morning 2:38
10 Don't Go Breaking My Heart 2:31
11 Tristeza De Amar 3:16
12 Girl Talk 2:24

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