Sergio Mendes Brasil 86

A 1986 A&M album featuring a mix of Mendes' trademark Brazilian pop with vocals by Siedah Garrett and Joe Pizzulo, a traditional Brazilian styled tune "O Rio" (featuring the great Dori Caymmi on guitar and vocals), and a guest appearance by former Brasil '66 lead singer Lani Hall on "No Place To Hide".

Sergio Mendes took a deep breath, expanded his sound to include strings lavishly arranged by the young Dave Grusin and Dick Hazard, went further into Brazil, and out came a gorgeous record of Brasil '66 at the peak of its form. Here Mendes released himself from any reliance upon Antonio Carlos Jobim and rounded up a wealth of truly great material from Brazilian fellow travelers: Gilberto Gil's jet-propelled "Roda" and Joao Donato's clever "The Frog," Dori Caymmi's stunningly beautiful "Like a Lover," Harold Lobo's carnival-esque "Tristeza," and Mendes himself (the haunting "So Many Stars" and the title track). Mendes was also hip enough to include "With a Little Help From My Friends" from the Beatles' Sgt. Pepper LP…

Equinox continues the scrumptiously winning sound that Sergio Mendes cooked up in the mid-'60s, this time a bit more fleshed out with John Pisano's guitar, a slightly thicker texture, and even an imitation sitar (this was, after all, 1967). Again, the mix of American pop tunes old and new and Brazilian standards and sleepers is impeccable (although it didn't yield any substantial hits), and the treatments are smooth, swinging, and very much to the point. While Mendes reaps a predictable harvest from Antonio Carlos Jobim - he was one of the first to discover and record "Triste" and "Wave" - he also likes to explore the work of other outstanding Brazilian writers like Jorge Ben, Joao Gilberto, and especially Edu Lobo (whose "For Me," with its bright flashes of combo organ, is one of the album's highlights)…

Equinox continues the scrumptiously winning sound that Sergio Mendes cooked up in the mid-'60s, this time a bit more fleshed out with John Pisano's guitar, a slightly thicker texture, and even an imitation sitar (this was, after all, 1967). Again, the mix of American pop tunes old and new and Brazilian standards and sleepers is impeccable (although it didn't yield any substantial hits), and the treatments are smooth, swinging, and very much to the point. While Mendes reaps a predictable harvest from Antonio Carlos Jobim - he was one of the first to discover and record "Triste" and "Wave" - he also likes to explore the work of other outstanding Brazilian writers like Jorge Ben, Joao Gilberto, and especially Edu Lobo (whose "For Me," with its bright flashes of combo organ, is one of the album's highlights)…

Sergio Mendes took a deep breath, expanded his sound to include strings lavishly arranged by the young Dave Grusin and Dick Hazard, went further into Brazil, and out came a gorgeous record of Brasil '66 at the peak of its form. Here Mendes released himself from any reliance upon Antonio Carlos Jobim and rounded up a wealth of truly great material from Brazilian fellow travelers: Gilberto Gil's jet-propelled "Roda" and Joao Donato's clever "The Frog," Dori Caymmi's stunningly beautiful "Like a Lover," Harold Lobo's carnival-esque "Tristeza," and Mendes himself (the haunting "So Many Stars" and the title track). Mendes was also hip enough to include "With a Little Help From My Friends" from the Beatles' Sgt. Pepper LP…

Sergio Mendes took a deep breath, expanded his sound to include strings lavishly arranged by the young Dave Grusin and Dick Hazard, went further into Brazil, and out came a gorgeous record of Brasil '66 at the peak of its form. Here Mendes released himself from any reliance upon Antonio Carlos Jobim and rounded up a wealth of truly great material from Brazilian fellow travelers: Gilberto Gil's jet-propelled "Roda" and Joao Donato's clever "The Frog," Dori Caymmi's stunningly beautiful "Like a Lover," Harold Lobo's carnival-esque "Tristeza," and Mendes himself (the haunting "So Many Stars" and the title track). Mendes was also hip enough to include "With a Little Help From My Friends" from the Beatles' Sgt. Pepper LP…

The great incontrovertible truth of Brazilian vocalists in the '60s is that the more global success they enjoyed, the weaker and more insubstantial their voices. (As a test, simply compare and contrast the chart-topper Astrud Gilberto with the chart-absent Elis Regina.) Wanda de Sah was quite popular, which says most of what you need to know about her vocal prowess, both on the material she recorded with Brasil '65 as well as her solo career. But as with Astrud Gilberto, vocal weakness is hardly a barrier to entry. When given complementary musicians and arrangements - which were as common as coffee in Brazilian music circles - a thin, wispy voice could be made to sound positively radiant. DRG's 2008 pairing of Brasil '65 and Softly!, the two albums de Sah appeared on during 1965, reflects her peak year as an artist….

The musical relationship between Sergio Mendes and Antonio Carlos Jobim was a very important one in the careers of both men. Jobim was, of course, the premier composer of bossa nova, and Mendes was one of the most important popularizers of Brazilian music, helping to bring Jobim's compositions to a very wide audience. Mendes recorded 11 of Jobim's songs overthe course of his first two Atlantic Records albums. The Beat of Brazil and The Swinger From Rio, Featuring Antonio Carlos Jobim, the latter of which is reissued here.