A post-Tropicalia masterpiece from one of the movements key figures and true legends of Brazilian music, Gal Costa. Features a stellar line up of musicians including Gilberto Gil, Arthur Verocai, Dominguinhos, Rogerio Duprat and Tenorio Jr. amongst others.
Brand new album of this Diva, comemorating her 75 year age. Special participations of the singers: Rodrigo Amarante, Seu Jorge, Rubel, Silva, Criolo, Antonio Zambujo, Ze Ibara, Tim Bernardes, Zeca Veloso e Jorge Drexler.
Recorded at a video taping in the Wiltern Theatre in Los Angeles as part of the Jazzvisions series, this was Jobim's live act shortly after he resumed touring in the mid-'80s. At the time, Jobim struck an avuncular, almost casually anti-show-business presence seated before a grand piano, presiding over a large ensemble composed of friends and family, singing in his endearingly rough, now-threadbare voice. Some of the performances here are little more than pro-forma run-throughs of standard Jobim oldies but things perk up when Jobim digs into some lesser-known compositions like his "Song of the Jet" and son Paulo's catchy "Samba do Soho." In any case, the material is always superb and the cool-voiced, always in-pitch Brazilian singer Gal Costa turns up on a few numbers.
One of the most mindblowing albums ever recorded – anywhere, anytime! This 1969 set stands as one of the greatest records ever cut by Gal Costa – done at the height of the Tropicalia movement, and featuring a sublime mix of styles that really gets the spirit of the movement right. Arrangements are by the legendary Rogerio Duprat – who effortlessly shifts the backings between stark electronics, sweet bossa, gliding strings, jazzy piano, and baroque orchestrations that dance around with a surprising amount of grooves! Tunes include some classics by Caetano Veloso, Jorge Ben, and Gilberto Gil – served up in amazing new versions by Gal and Duprat! Titles include "Nao Identificado", "Lost in the Paradise", "Que Pena", "Sebastiana", "Namorinho De Portao", "Divino Maravilhoso", and "Deus E O Amor".
Bem Bom was tropicalista Costa's bid for superstardom in the mid-'80s, with the involvement of everybody who is anybody (well, almost). The jazz and R&B touches are more mainstream than before – but the Brazilian pop avant-garde has long drawn heavily on U.S. sources, besides being more sympathetic to lushness than its U.S. counterparts.