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)…
Brasil was The Manhattan Transfer's tenth album.This album was a new foray for the group into Brazilian music. During the recording sessions they worked with many songwriters, including Ivan Lins, Milton Nascimento, Djavan, and Atlantic records Jazz recording artist Gilberto Gil. After the initial recording sessions, the songs were re-arranged and then fitted with English lyrics. This album won the Grammy Award for Best Pop Performance by a Duo or Group with Vocal.
Having hit upon another smash formula – cover versions of pop/rock hits backed by lavish strings, a simplified bossa nova rhythm, and the leader's piano comping – Sergio Mendes & Brasil '66 produced two more chart-busting singles, again turning to the Beatles for sustenance with the title track (number six) and Simon & Garfunkel for "Scarborough Fair" (number 16). But again, the bulk of the album was dominated by Brazilians, and by one in particular: the hugely gifted Edu Lobo, whose dramatic "Casa Forte" and infectious "Upa, Neguinho" were the best of his four songs. The tracks were longer now, the string-laden ballads (arranged by Dave Grusin) more lavish and moody, and Lani Hall emerged as the vocal star of the band, eclipsing her new partner, Karen Philipp (although Hall is upstaged on "Lapinha" by future Brasil '77 member Gracinha Leporace).
Perhaps the Sergio Mendes & Brasil '66 sound was at last beginning to show signs of wear, for not only didn't Ye-Me-Le produce any hits ("Wichita Lineman" reached a lowly number 95), but the album is also less enterprising and fresh-sounding than its predecessors. There is a surprising shortage of Brazilian material, which was always Mendes' most valuable contribution in the long run, and more reliance upon routine covers of pop/rock standards like "Easy to Be Hard" and "What the World Needs Now." But there are special moments, like the hypnotic "Masquerade" (no relation to the Leon Russell/George Benson hit), Sergio Mihanovich's haunting "Some Time Ago," and another winning treatment of a Beatles tune, "Norwegian Wood," where Mendes cuts loose a killer solo on electric piano (believe it or not, the 45 rpm single version features more of that solo than the LP).
In the early '90s, in the middle of his mandate as councilman for Salvador, Gil was again concerned with the Afro roots of Brazilian people, and this album strongly reflects that. "Madalena" brings social criticism through Afro soca grooves. "Parabolicamara" builds a discourse about communications over a beautiful ponto de macumba melody with enriched harmonies. "Um Sonho" is a doleful toada about the lack of understanding of the popular soul by politicians and technocrats. "Buda Nago" is a tribute to Dorival Caymmi in Afro-Bahian style, which features the guest singer Nana Caymmi (Dorival's daughter and Gil's former wife).
Two classic easy-listening albums by Paul Mauriat and His Orchestra, originally released in 1977 and 1978 on the Philips label, together on one CD and remastered from the original analogue stereo tapes for Vocalion's trademark crystal-clear sound.
Guitarist, harmonica player, and whistler Toots Thielemans' followup to the critically acclaimed Brasil Project doesn't stray far from its predecessor's path. There are 13 nice Afro-Latin selections with Thielemans backing such top Brazilian vocalists as Milton Nascimento, Gilberto Gil, Ivan Lins, Caetano Veloso, and Dori Caymmi, among others, and guitarists Oscar Castro-Nieves and Lee Ritenour assisting Thielemans with delicate shadings and accompaniment.