"In Hollywood verdiende zangeres/actrice Carmen Miranda de bijnaam ‘The Brazilian bombshell’. Terecht ook, want in de jaren dertig en veertig was Miranda, met dank aan haar explosieve optredens, in de Verenigde Staten de personificatie van Brazilië. Ze kreeg muziek en dans al met de paplepel mee: haar Portugese vader vernoemde haar naar Bizets opera Carmen. Miranda’s grootste verdienste is dat ze voor het eerst samba buiten Brazilië liet horen. Tijdens haar optredens zette haar tropische afkomst dik in de verf met als letterlijk hoogtepunt de meters hoge hoed van vers fruit. Sommige Brazilianen vonden dat de zangeres een eendimensionaal beeld van hun land neerzette, maar Miranda was geliefd onder het volk. Na haar overlijden op 46-jarige leeftijd ging er een schok door het land. In Rio stonden een half miljoen mensen langs de weg om Miranda de laatste eer te bewijzen." (muziekweb)
Fafá de Belém is een Braziliaanse zangeres die wordt beschouwd als een van de grote zangeressen van Braziliaanse pop muziek. Haar hese mezzosopraanstem staat bekend om haar uitgebreide emotionele bereik, van tedere ballads tot sensuele liefdesliedjes, van Portugese fado's tot energieke samba's en lambada's.(Wikipedia/NG)|
"Oscar Castro-Neves was a gifted Brazilian musician who lived in the U.S. after 1966. Besides his important contribution to the movement usually known as bossa nova, he also took part in projects with Joe Henderson (including their performances at the JVC Jazz Festival) and other great names of jazz, such as Dave Grusin, Herbie Hancock, Michael Brecker, and others. As a producer, arranger, and orchestrator, he worked on many artists' albums, conducting some of them; at the same time, he wrote music for American movies and TV series. As a composer, he enjoyed great success with his "Onde Está Você," recorded by various important interpreters." (Allmusic)
"Cabruêra, from the northeast of Brazil, have a wonderfully cavalier attitude to music. Grounded in the raw, countrified forro style of the region and inspired by the musical experimentation of the late Chico Science, they play fast and loose with styles, mixing and matching tradition with jungle, funk, hip-hop, and beyond in often exhilarating combinations, starting straight off with the title track that sets the album's iconoclastic agenda. Although the disc is subtitled "Sambas for Sleepless Nights" you'll only find one real samba on here, "Eu Sambo," which is -- as you'd expect -- a wonderfully subverted piece. The counter-rhythms bite very crisply, and when they add funk to the mix everything soars. There's a strong imagination at work on this record, but it's powered by more than cleverness. There's also passion in the music, not only for what they're playing but for the sounds of their native region, and enriching and expanding the powerful tradition. An album that bears repeated playing." (Allmusic)
Compilatie van 18 songs van Elba Ramalho (1941). Ramalho is een van de meest flamboyante Braziliaanse artiesten, qua stijl vergelijkbaar met Madonna of Tina Turner. Elba Ramalho is een ster. Zij beperkt zich niet alleen tot Braziliaanse muzieksoorten; zij voegt even makkelijk funk, rock en salsa aan haar repertoire toe. Ramalho is ook songwriter, producer en actrice.
In de jaren '80 keerde Sergio Mendes terug naar de populaire formule van Brasil '66: een combinatie van Braziliaanse muziek, soul en pop. Voor Brasil '86 werd een blik vol bekende Amerikaanse zangers en studiomuzikanten uit die tijd opengetrokken, van co-producer Peter Wolf (J. Geils Band) en drummer Jeff Porcaro (Toto) tot achtergrondvocalisten Michael McDonald, Robin Beck en Maxine Waters-Willard. De meeste songs klinken dan ook eerder Amerikaans dan Braziliaans. "No Place To Hide", een compositie van de Braziliaanse songwriter Dori Caymmi, gezongen door Lani Hall, bewijst dat het toch mogelijk is om de diverse invloeden op een fraaie manier te combineren.
"This album and homonymous show were Maria Betânia's commemoration of her 50 years of age, 35 years of her career, and 35 albums. Differently than in other recent albums, where she has permitted herself the luxury of including cheesy songs in the "breganejo" style, in this one the repertory is excellent, consisting of all-time classics and songs by new composers such as Adriana Calcanhoto and Carlinhos Brown. An acoustic album with sensitive violão (Jaime Além) punctuation, the world touch was given by special guests Zap Mama, Sabine Kabongo, and Angelique Wilkie. The general tone is romantic with excellent orchestral touches here and there. Paulinho da Costa brings his percussive talents to the swinging "Invocação" and the subtle samba rendition of "Quando Penso Na Bahia" has a wonderful trombone (non-credited) in the best gafieira style. The album also has the special guest Chico Buarque. Attention also for the beautiful "Brisa," divided in an a cappella introduction and Brazilian viola backing."(Allmusic).
"In the 21st century mainstream pop scene of Brazil, Marisa Monte is one of the few young successful artists concerned with delivering music based in the rich culture of that country. This album evidences a search for a personal synthesis of the required elements for a successful commercial career together with a respectful treatment to the Brazilian music richness. It is no surprise that she included several Northeastern instruments and grooves, which add to the album's interest. The songs cover two hits from the tropicalia times, "Panis Et Circensis" (Caetano Veloso/Gilberto Gil) and "Cérebro Eletrônico" by Gilberto Gil. Also deserving mention is a beautiful samba by the authentic composer Paulinho da Viola, "A Dança da Solidão," which was again a big hit in her interpretation. The rest of the 16 songs are divided between Monte's originals, hits by the latest generation of Brazilian pop composers, and other hits, including George Harrison's "Give Me Love" (the only foreign composition)." (Allmusic).
Klassieker uit 1972, oorspronkelijk een dubbelalbum. De titel Clube do Esquina verwijst naar het gelijknamige muzikantencollectief, waarvan zangers/componisten Milton Nascimento en Lo Borges de leidende figuren waren. "Folk music from the state of Minas Gerais is mixed with elements of contemporary jazz and Beatelesque pop to form a unique, dreamy soundscape on this beautiful classic". (www.greatbrazilianmusic.com).
"Ivan Guimarães Lins (1945) is a Latin Grammy-winning Brazilian musician. Ivan Lins has been an active performer and songwriter of Brazilian popular music (MPB) and jazz for over thirty years. His first hit, Madalena, was recorded by Elis Regina in 1970. Love Dance, a hit in 1989, is one of the most recorded songs in musical history." (Session Days)
"Many of the best practitioners in the Brazilian jazz revival aren't even Brazilian. One of these artists is the singer/songwriter Bia, who hails from the decidedly non-tropical climes of Montreal, Quebec, and sings most of her songs in Quebecois French. Her third album, Carmin, blends influences from the '60s and '70s (there's quite a bit of Gal Costa in Bia's husky, murmuring phrasing) with more modern elements. Bia's Brazilian roots don't get lost in a mélange of trip-hop rhythms and down-tempo keyboards: there's a hint of electronica lurking in the background of songs like "Je N'Aime Pas," but the tunes themselves are proud successors to the traditions of Antonio Carlos Jobim, Caetano Veloso, and Baden Powell. Carmin is an excellent example of the pleasures of old wine in new bottles." (Allmusic)
Maria da Paz (1958) is een Braziliaanse zangeres, gitarist en songschrijver. Op dit album laat ze horen meerdere stijlen binnen de latin te beheersen. Deze diversiteit wordt mooi bij elkaar gehouden met haar in 'saudade' gedrenkte zang en de instrumentale arrangementen. Die ook van de hand van Maria da Paz zijn. Goed voor een sfeervol uurtje ontspannen. (GR Muziekbank)
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