Latin | Brazil Vinyl 160 Items

Debut album by the influential gaucho musician Gelson Oliveira, in partnership with the drummer Luiz Ewerling, released independently in 1983, with minimal resources. In spite of all this, they made a unique and very beautiful album, with a spectacular musicality, a mix of sounds, ranging from jazz, funk and fusion.

Recorded between 1985 and 1987, this album brings together the two founders and leading performers of candombe-beat, Ruben Rada and Eduardo Mateo. They hadn´t collaborated in a project since 1969. Both artists had reached their creative prime, with Mateo having released “Cuerpo y Alma” and Rada, “La yapla mata” (which included the classic song ‘Tengo un candombe para Gardel’). 140 gram vinyl with OBI & Insert This initiative sprang from the artists themselves. But when it was time to create, they rarely got together in the studio, preferring to work on their own. Once finished, the album failed to make an impact, since neither of them promoted it. This revival brings that semi-hidden treasure to light. It includes two tracks of the artists strictly performing a duet, the only recordings of Mateo and Rada working alongside each other and no one else. It also contains two additional tracks where you can relish Rada accompanied by Mateo’s guitar and Mateo backed by Rada’s percussion. It includes a track where Mateo commands the instruments (as in Mateo solo bien se lame) and another with Rada’s solo on vocals and percussion. There are instances when Rada’s band of that moment and “super-group” (with Osvaldo Nolé on keyboards, Ricardo Lew on electric guitar, Urbano on the bass and Osvaldo Fattoruso on drums), makes an appearance. Sometimes, Urbano comes forth as lead singer, completing the triad of singers of “El Kinto”. All excellent songs. This album is exceptional and one-of-a-kind, an overflow of talent, musicality, swing, imagination, rhythm, spark, and transcendence. Guilherme de Alencar Pinto

Manoel Germano Filho (better known as Germannu) was born into a family of cocoa farm owners on January 11th, 1955 in Linhares, Espirito Santo, Brazil. He was the second born of three children, but refusing to buy into the stereotype of the forgotten middle child, it took just a few guitar chords, learnt at the age of 15, to start him on his musical path. (The chords were taught to Manoel by his much-revered older sister, Germana, which she, in turn, had learned playing religious songs at Catholic school).

Manoel started his foray into education by following in his family’s footsteps, earning his agronomy degree at the Federal University of Viçosa in the state of Minas Gerais. Yet it was music rather than soil that held his heart, and after a chance meeting with Milton Nascimento, one of Brazil’s biggest musical icons — both back then and today — he threw himself into the Minas music scene, burgeoned as it was by student movements and local music festivals.

Manoel’s attempts to bring his music to the general public were abruptly derailed by the death of his father. Shortly after graduating, his dreams were put on hold and he found himself back in his hometown of Espirito Santo taking care of the family’s business affairs. It didn’t take long for though for the music to win over, and soon after he invested a considerable sum of his earnings in musical instruments and sound equipment, as well as a mobile trailer which he used as a tour bus, setting out to perform in towns in the region.

Deluxe Edition pressed on 180 grams vinyl. Iconic and much sough after self titled LP by Piry Reis now re-issued as a deluxe edition containing an extra bonus track (spaced out Jazz interpretation of No Risco Do Relâmpago). After playing for several years with Egberto Gismonti group and other prominent Brazilian acts, Piry decided to record this album which was originally released in 1980 featuring a special guest appearance by Egberto Gismonti.

Released in 1971 while Gil was living in London, this is the third self-titled release from the bossa nova and tropicalia legend. Gil recorded this album while in political exile from his native Brazil and its somber, straightforward tone is a welcome change from the experimental, psychedelic assault of his 1969 long player. Featuring 8 originals and a brilliant cover Steve Winwood's 'Can't Find My Way Home,' this Water release also contains 3 bonus tracks including covers of Jimi Hendrix and The Beatles. A tropicalia classic.

Record Store Day 2020 Release.
Limitation: 1000 copies.

180g vinyl reissue of the mega rare Mexican-only Luiz Eτa album from 1970 in facsimile artwork and remastered sound.The Brazilian pianist and founder member of Tamba Trio is accompanied here by a large group of top-notchBrazilian musicians.

Les Ya Toupas is a band formed in 1976 by Bopol Mansiamina (Bass - Success Mode, 4 Stars ..), Manuaku Waku (aka Grand Zaiko Wawa) and Ray Lema (Piano, Organ and Guitar) Between 1976 and 1978, they recorded several 7inches including the famous title “Je ne bois pas beaucoup” (1976) compiled on the series of Sofrito (Tropical Discotheque ) in 2011. In 1978, they recorded this unique and unclassifiable instrumental album, Les Ya Toupas du Zaïre, produced by Gérard Akueson (founder of Akue Records and Abeti's producer). The LP is composed of minimalist Afro Jazz rhythms and Deep Funk grooves that are close at times to a tropical trance, all played by musicians who used to offer more classic Rumba rhythms. It is their only album before the departure in 1979 of Ray Lema for the United States and then France. Ray Lema's departure follows a violent disagreement which opposed him to the dictator Mobutu then in place in Zaïre. Let's not forget that the album was released in 1978 and can be seen as their last musicial project.

Limited to 500 copies. Latin Funk Psych Fuzz Blaster basically covers all the realms of rare record collecting in one shot!!
There's the Funk Fuzz Blaster "Maranatha" or the Ray Barretto Latin Jazz Groove cut "El Que Se Fue" with freaky synth blasts.
The Texas Easy Funk moves of "Squeeze" which remind of Steam Heat, or the lounged out soul rendition of Stevie Wonder's classic "Bird Of Beauty”. Something for everyone and impossibly rare!!

The daughter of a Brazilian mother and German father, Astrud Gilberto achieved international prominence with “The Girl From Ipanema,” an inauspicious debut recorded for the landmark album her husband, Joao Gilberto, created with Stan Getz in 1963. Moving to the USA, where she was subsequently based, she continued her solo career and also toured with Getz, with whom she later began a relationship. Over-the-top classic That Girl From Ipanema allowed her to revisit the hit in the sweeping high-fidelity full-spectrum setting of a disco big-band, the album overseen by Mfsb and Salsoul mainstay, Vince Montana. Along with individual takes of Cole Porter’s “Love For Sale” and Harry Nilsson’s “The Puppy Song,” original “Far Away” benefits from the understated trumpet of Chet Baker, but the album ultimately revels in all things disco, the Brazilian element coming courtesy of percussionist Dom Um Romao on select tracks. Crank up the volume and tune in to the brass, piano and percussion that percolates under Astrud’s characteristically soft and sultry vocals to fully experience this underrated gem.

We have the great honour of presenting to you the first official reissue of the last project of Gerardo Manuel´s trilogy with Humo . Recorded in 1973 in the style of his previous two albums, although this is the most progressive. As the lyrics leant toward social protest, the military in power didn´t want this music to be popular and as a result of this most of the copies were destroyed. This has made the album extremely rare and an authentic lost jewel of South America Rock.

A masterpiece of South American percussion, recorded in 1977 by worldwide legend and Gipsy Kings percussionist Jorge Trasante—and impossible to find for decades—finally reissued!

'In the mid-'70s I was struck by a young Uruguayan percussionist named Jorge Trasante. I met him accompanying Rada and Pippo Spera, in recordings in the Sondor Studio. He turned out to be an experienced percussionist and remarkable musical researcher, despite his young age, only 23 years old. At that time he invited me to a rehearsal with Eduardo Mateo, at his house in El Cordón. We decided to record the album 'Mateo y Trasante', which today is an iconic album of Uruguayan music. And at the same time, I suggested to Jorge, to record an LP of instrumental percussion, based on Afro Uruguay rhythms. It became his letter of introduction when a few months later he traveled to Europe, where he joined very good groups, including the Gipsy Kings, with whom he recorded 18 albums between 1987 and 2001, and also accompanied other great artists. Jorge Trasante settled in Paris, France, where he lived for more than 30 years. The album “Folklore Afro Uruguayo” was not a success of the moment, but is a sound document which maintains its validity through time.” —Enrique Abal Oliú


'I left (Uruguay) in early 1977. We were finishing a cycle with Mateo, Buscaglia, Yánez and Mariana Vigil. I studied technical drawing at the Universidad del Trabajo del Uruguay… and worked in a cigar and cigar factory—that was my mother's trade—which allowed me to buy the instruments that Emilio Acevedo made in Ansina 1036; he was the great teacher. The first drums I paid for in a thousand installments. He would lend me pailas, Ameijenda or Galletti would lend me a cymbal, I never had anything.

I left because here I was very “wounded' and the political thing got very hard with the dictatorship and the music weighed more than everything. I decided to jump to Europe, where there were great friends. And I went with 70 kilos of drums to Paris to Mario Aguerre, former bassist of Los Delfines. Knowing that I had arrived, Emilio Arteaga called me and he proposed to set up a group with Jorge Pinchevsky, a great Argentine violinist who had played in La Pesada del Rock & Roll. We set up an experimental group with Latin rhythms to play on the street, in clubs, where he would paint. I used to play a set of congas, timbales, and we made Andean music, very fashionable then… and that summer of 1977 in the south of France we did very well. There I crossed paths for the first time with the Gipsy Kings, who also played on the street doing 'the manga' with their gypsy rumba.” —Jorge Trasante

Brazil’s Black Rio movement had a lasting impact on the country’s marginalised black youth. Inspired by the African-American Civil Rights Movement and the revolutionary, politically conscious soul and funk being produced by the likes of James Brown, Curtis Mayfield, Gil Scott Heron, Billy Paul and Nina Simone, a new scene began to incubate in Rio’s poor and oft-neglected North Zone - one which put black culture front and centre. At bailes funk (funk balls) revellers proudly sported afros and danced to their own beat while artists such as Banda Black Rio, Trio Ternura, Tim Maia and Emilio Santiago subverted officially-sanctioned Brazilian styles by fusing elements of imported soul, funk and jazz with samba rhythms to create a new form of music they could call their own.

Sérginho Meriti was one of many young artists caught up in the excitement of the movement. Born Sérgio Roberto Serafim and raised in the north Rio suburb of Meriti (from which he’d take his stage name), he began his career with Black Rio funk/soul outfit Copa 7, for whom he penned the stridently funky dance floor hit Som Da Copa 7.

Snapped up by Polydor at the turn of the 80s, Bons Mementos was his first work as a solo artist. It’s the work of a young musician brimming with musical ideas and creating a new take the Black Rio sound - one he would refer to variously as Meritiense (the sound of Meriti) or as Electric Samba. The title track is perhaps the perfect distillation of his ideas, mixing Black Rio’s funky bass and guitar lines with a healthy dose of the samba rock style developed by Jorge Ben, a pinch of eighties synths, and some of the best call-and-response female vocals this side of Fela Kuti. The result is a potently-rich musical stew that has made the track a compilation favourite and the album hugely collectable among funk connoisseurs.

Elsewhere on an all-killer-no-filler effort, Madureira adds reggae-fied guitar rhythms and low-slung bass to the mix while Malandro’s added bursts of brass give playful homage to Glenn Miller’s Big Band standard In The Mood. Memorias demonstrates Meriti’s mastery of tempo. Beginning with a languid slice of samba rock the track abruptly changes speed half way through for a bright and zippy finish of brass-heavy funk. Serjane adds layers of flute and saxophone the latter adding to the natural warmth of Serginho’s rough-hewn vocals. Tipo is a classic funk workout with some deliciously squelchy synths, while Batalha ends the album with a warm slice of funk, it’s yin and yang melding of joyful horn bursts with mournful vocals a potent demonstration of the sadness that underpins the album’s seemingly sunny soul.

“Lugar Alto presents their very first release: the incredibly rare and absolutely stunning “Homenagem”, by Leonardo V. Boccia. This is a forgotten gem from the eighties that examines traditional Brazilian themes such as choro, northeastern folk, and capoeira with touches of eighties electronics and new age.

Leonardo Boccia is a musician, multi-instrumentalist, composer, researcher and university professor of Culture and Society at the Federal University of Bahia, whose interests include sound studies, manipulation of sound media, audiosphere and aesthetics, musical theatre, audio culture and neuromusic.

Born in Italy, this respected academic studied music in Berlin, moved to Rio de Janeiro and established himself in Salvador where he was invited to research the northeastern music of Bahia. There he created the experimental group Macchina Naturale, an eclectic combo that performed regularly during his stay. In November 1980, Boccia participated in the first Instrumental Music Festival of Bahia as a soloist where he performed works of his own.

But it was in 1983 that Professor Boccia composed, directed and produced the LP Homenagem. With photos by renowned photographer and artist Mario Cravo Neto for the front and back cover of the booklet, the album presents new and original compositions for instrumental ensembles, such as: Choro Fantasia – for guitar and berimbau -, Canção para Iracema, Homenagem and Lenda do Sertão. The LP was originally released on January 3rd, 1984, with a live performance in the main hall of the Castro Alves Theatre under the title Tribute to Brazilian Music, with the participation of vocalist Sueli Sodré, who contributes to the album, instrumentalists Zeno Millet and Onias Camardelli, accompanied by choreography and visuals.

Much of Homenagem examines the genre of Brazilian music known as Choro, or Chorinho, a genre which appeared in Rio de Janeiro in the 19th century. Choro is regarded as the first typically Brazilian urban music and, over the years, it has come to be considered one of the most prestigious genres of national popular music. Stylistically, it originates from Lundu, a percussion-based rhythm of African inspiration but also influenced by European genres. The instrumental composition of choro was based on the trinca flute, guitar and cavaquinho. Over time, other wind and string instruments were incorporated.

Here, in Homenagem, Professor Boccia deliberately mixes the old and the new, the traditional and the innovative; the album is the environment of Chorinho reconsidered and recontextualized, and its melodies and harmonies still capable of surprises. Just listen to “Terra e Povo” – it has an almost proto-acid-house quality to it, while the synth washes on “Mãe Natureza” with the ethereal vocal stylings of Sueli Sodré ushering in the progressive quality of the album.

Too long out of print, new label Lugar Alto now offers you the chance to reappraise this fascinating reissue of yet another forgotten chapter in Brazilian music.”

THIS ALBUM SYMBOLIZES THE VERY ESSENCE OF TWO GREAT ARTISTS AT THEIR VERY BEST. THE 'CUBAN EDITH PIAF', CELIA CRUZ AND THE UNPARALLELED TITO PUENTE GIVE THIS ALBUM EVERYTHING IN SPADES: FEELING, STYLE, RHYTHM AND CLASS!

AN HISTORIC NIGHT FOR LATIN MUSIC AS 40,000 FANS POURED INTO THE YANKEE STADIUM IN NEW YORK. TWO SETS WERE PLANNED, THE FIRST BEING A TRADITIONAL ONE, THE SECOND WAS NEVER COMPLETED AS A FRENZIED CROWD RUSHED THE PLAYING FIELD AND THE STAGE, ENDING THE NIGHT. LEGENDARY!

This is a 180 gram pressing. Polysom re-issue of Legiao Urbana S/T debut album from 1985 to get first ever vinyl release.

Polysom official reissue and 180 gram pressing.

1970’s best-kept Bossa Nova secret. Surrounded by mystery for nearly 50 years due to its obscurity, this is one of the most honest, personal and unpretentious albums of its genre. A selection of 12 exquisitely crafted songs supported by measured, subtle arrangements.
The list of musicians born or raised in the Tijuca district of Rio de Janeiro is long and illustrious and includes names that have shaped Brazilian music: Tom Jobim, Roberto Carlos, Tim Maia, Milton Nascimento, Jorge Ben or Erasmo Carlos – to mention but a few. We can now add to that list another name: Werther. In 1970, a man by that name recorded an album unique in its personality, its honesty, and its lack of pretense. In a time when Bossa Nova had become a global phenomenon and its main characters were already household names in Brazil, Werther assembled a collection of songs that uncannily – almost naively – remind us of the time when Bossa Nova was just a group of youngsters making music. His songs are about simple things: bohemian life, the sea, love.
Despite Werther and his friends being only in their teens, without any previous experience recording music, those working behind the scenes were not equally amateur. Producer Peter Keller had already worked with Aloysio De Oliveira in the quintessential Bossa Nova label Elenco, and was also an initial partner in Roberto Quartin’s cult label Forma. Studio owner Bill Horne was a very loved character in the Rio jazz scene who had regularly taken part in the legendary meetings in Nara Leão’s apartment and befriended some of Brazil’s most respected musicians. Some of these musicians were, for example, Naná Vasconcelos and Edison Machado, who provided small contributions to Werther’s album.
It was only in the 1990’s that Werther’s album was rediscovered by a handful of collectors and Brazilian music enthusiasts, who recognised in it a purity that had already vanished from the mainstream Bossa Nova recordings. But due to the haziness around the original release and the relative anonymity of its instigators, many questions surrounding these recordings were left unanswered. Today we are finally able to disclose the full story behind Werther’s short-lived contribution to Brazilian music.

Soundway Records re-issue the massively in-demand Soca cover-version of Sade’s classic cut “Sweetest Taboo” by Caribbean band Rebles from 1986.
In the late 80s, as electronic music permeated popular culture, Rebles helped define the soca genre outside of the Caribbean. Also known as D’ Rebel’s Band and led by St Vincentian band-leader and trombonist Denniston Young, the group were the 1980s house band for probably the largest Caribbean label, Strakers Records, based in Brooklyn, New York. Strakers released hundreds of Calypso and Soca releases over a thirty year period from 1970 to 2000.
Finally available again after becoming a big record with a number of open-minded contemporary DJs who play Soca, Zouk, Highlife and Soukous alongside Disco and House, the 12” has been officially licensed and re-mastered ready to hit the summer party season head-on.
This 12” paves the way for a big compilation album of Soca crossover sounds coming later this year on Soundway.

Soundway Records presents the official vinyl release of George & Glen Miller’s 1979 hit “Easing” - encapsulating late 70s New York in its blend of disco, soul and Caribbean soca.
Restored, remastered and cut loud for the dancefloor, the 12” single features the original vocal on the A-side and the essential instrumental on the flip.
The Miller brothers’ musical journey began in Trinidad and Tobago in the early 70s. During their teenage years they formed The Groovy Millers - a five piece band made up of George, Glen and their three siblings. After a chance meeting with Lord Shorty, they went on to collaborate with one of the Soca stars of the time and firmly plant their feet in the Soca scene of the musically rich Caribbean island.
Of the five siblings it was George and Glen that pursued a career in music, and in the late 70s the two brothers made the move to North America to develop their music style. Disco dominated the airwaves at the time and a studio session with the prolific Frankie McIntosh resulted in the masterpiece that is Easing. Drawing influence from the blossoming disco and soul scene, George and Glen added Caribbean flavour to the New York sound to startling effect. Soft, subtle keys and guitars are punctuated with layered trumpet and violin riffs, complimenting George’s silken, restrained vocal. Frankie McIntosh’s arrangement shines through with what might be his finest work, placing this track on the mantle with other New York classics of the time.

Ultimate space-age exotica trip from Venezuela.
In the early 70s, well-known composer and arranger Chelique Sarabia (who penned the famous “Ansiedad” when he was just a kid) decided to register an album of traditional & folkloric songs from Venezuela but giving them a modern touch, using especially developed equipment (M.R.A.A.), based off of the principles of the Moog.
Chelique, helped by a team of gifted musicians, employed traditional instruments like the cuatro and the bandola llanera, filtering them through oscillators, playing with feedback, tape delay, synthesized frequencies, echoing sounds… The result was “Revolución Electrónica en Música Venezolana”, an album with a truly exotic, psychedelic, and ahead of its time sound.
Originally, the album was sponsored by the Shell Company in Venezuela, given away to customers, employees and friends of the company as a Christmas gift in 1973. It was titled “4 Fases del Cuatro - Música Venezolana desarrollada Electrónicamente por Chelique Sarabia” (“4 Phases of Four – Venezuelan Music Electronically Developed by Chelique Sarabia”). Once the exclusivity period with the petrol company was over, Chelique did a commercial release, this time under the name of “Revolución Electrónica en Música Venezolana” (“Electronic Revolution in Venezuelan Music”). Thanks to this, Chelique and his team were considered electronic music pioneers in Latin America.
“In the past five decades, there have been many attempts at modernizing the vast folkloric tradition of Venezuela, but nobody has reached the level of depth that CHELIQUE SARABIA did when he put his impeccable reputation as a composer and arranger at risk with this out-of-the-blue revolutionary musical manifesto in 1971. 47 years later, an album that remains ahead of its time.” - Alex Figueira (Fumaça Preta)

Golden-era, 1977, Brazilian jazz-funk-fusion album from the legendary Azymuth.
Lush Rhodes, soaring synths and fusion guitars from Malheiros and
Bertrami combine with the inimitable drum grooves from Ivan “Mamao” Conti that create the signature Azymuth sound.
The album moves from mellow soulful moods, into screaming disco-jazz-fusion, samba funk, synth boogie and ends with a tough 160bpm Batucada workout.
This is actually the first Azymuth album that we have released on Mr Bongo, which came as a surprise to us too.
Official Mr Bongo reissue. Licensed from Warner Music.

Sweet Soul Funk from 70s Brazil. Ronie aka Ronaldo Mesquita, the drummer of Bossa Três Combo! This album's got a smoother groove and luxurious use of Fender Rhodes, gliding alongside sweet samba soul arrangements in a mode that's a bit like some of the funkier 70s work by João Donato. Reissue on vinyl for the first time in a 180 gram heavyweight vinyl.

Classic Brazilian album from master drummer, Ronald Mesquita, originally released in 1972. Featuring songs by Jorge Ben, Antonio Carlos-Jobim, Gilberto Gil, Edu Lobo and others.
Mesquita is probably most well-known for playing with Luis Carlos Vinhas and his ‘Bossa Tres’ outfit, along with his own group, ‘Ronie E A Central Do Brasil’, that he formed after his return from the US in the early 1970s. He also played on several songs on Tenorio Jr.’s ‘Embalo’ album that Mr Bongo recently reissued.
The killer track ‘Balanca Pema’ was very big in the Jazz Dance scene in the 90s and also featured on the Mojo compilation ‘Dancefloor Jazz Volume Four’.
Madlib sampled ‘Balanca Pema’ on his Medicine Show Number 2 ‘Flight to Brazil’.
Official Mr Bongo reissue. Licensed courtesy of Universal Music Group Limited.

Classic Brazilian album from 1977, featuring the incredible 'Não Adianta’ and a brilliant cover of Jorge Ben’s 'Que Nega É Essa’.
Luiz Carlos Fritz (Fritz Escovão), João Parahyba and Nereu Gargalo aka Trio Mocotó are most well-known as Jorge Ben Jr.'s backing band. They played on several seminal Jorge Ben LP’s – his self-titled from 1969, Força Bruta in 1970 and Negro É Lindo in 1971.
Trio Mocotó were also key players in the development of the 'samba rock’ sound – a fusion of samba, soul and rock influenced by music from the USA.
Official Mr Bongo reissue. Licensed from Arlequim.

MRBLP188 Beautiful debut album from the incredible, Célia. Conducted & arranged by Arthur Verocai and Rogério Duprat; featuring songs by Lo Borges, Antonio Adolfo and Joyce amongst others. Célia recorded four self-titled albums for Continental between 1971 and 1977, ‘Amor’ in 1982 plus several more before she sadly passed away late in 2017, aged 70. This is her debut album from 1970. Célia was a Brazilian vocalist who worked frequently with master arranger-composer Arthur Verocai in her early years and many other heavyweights over the course of her extensive career. Joyce was particularly supportive in the making of this album, writing the beautiful “Abrace Paul McCartney” and her husband at the time, Nelson Ângelo, recorded some of the songs.
Features an exclusive insert of a translated interview with Celia, completed in 2011 in her hometown of São Paulo. Focusing, in particular on her recording work with Arthur Verocai, it showcases her wonderful sense of humour and how she was embracing her new legion of fans, particularly in the world of hip hop. Official Mr Bongo reissue. Licensed from Warner Music.

The release comes on 180g vinyl. Brazilian singer, guitarist, teacher and composer Célia recorded four self-titled albums for Continental between 1971 and 1977, 'Amor' in 1982 plus several more before.This, her first self-titled LP from 1970, feature arrangements by Rogério Duprat, Pocho Perez, Arthur Verocai & José Briamonte.

A warmly intimate album from Joao Gilberto – one that has the singer and guitarist in the same special space as his wonderful albums from the early 70s - a bit more sophisticated than the bossa years, but equally personal throughout!

Apparently when this album was originally released in 1972, confused and bewildered fans, expecting more of the same found on Transa, released earlier that year, returned the album to the shop, demanding a refund. Meanwhile, critics raved, and many now consider Araçá Azul known as CAETANO VELOSO’s “experimental album” to be one of his great creative moments. To be fair to his many fans, it was a stark departure from his previous releases, which were decidedly more pop, but Veloso had been through a lot recently, having just returned from political exile in the UK, so it is no wonder that the artist was feeling a bit like he needed to fly in the face of conformity. In Veloso‚s own words, “I made this album without thinking, without taking the time to stop to think.” He refers to the album’s “insolent experimentalism” and calls it a kind of “last stand.” Color vinyl version.

Often referred to as “Brazil s unofficial poet laureate” and the “Bob Dylan of Brazil”, this heavy-weight of Brazilian music was also a young revolutionary who used his music to protest against Brazil’s oppressive military regime. This protest music, which became known as Tropicalia, first earned Veloso a stint in jail, but by the time this dour album was released in 1971, it had placed him in exile in the UK. Veloso’s extreme bitterness and melancholy can be heard on every groove of this album, but don’t let the album s gloomy atmosphere stop you from buying it; it is dripping with some of the best moments of saudade in the history of Brazilian music. Color vinyl version.

One of the finest Brazilian jazz funk fusion albums ever recorded; thoroughly deserving of its cult status. First official reissue outside of Brazil. Cesar Camargo Mariano is a celebrated Brazilian jazz pianist, composer and producer, born in Sao Paulo in the 1940’s. He has played and worked with the likes of Elis Regina (to whom he was married at one point), Som Tres and Sambalanco Trio and still plays very regularly today. ‘Sao Paulo Brasil’ saw Mariano and co. step deep into jazz funk/fusion territory – and nail it. Tight, tough drum grooves, intricate arrangements, layers of synthesisers, percussion and FX transport and tell a story from the first beat.

The second release for Discos Fuentes by Peregoyo y su Combo Vacaná, recorded
circa 1967, is rich with diverse sounds and festive rhythms, from the exotic tranceinducing
coastal Afro-Colombian polyrhythmic syncopations of the currulao, abozao
chocoano, porro, cumbia and aguabajo to the more well-known genres of Cuban and
Puerto Rican origin like descarga, bomba, guaracha and son montuno. The ninemember
combo was formed by composer and tenor saxophonist Enrique "Peregoyo"
Urbano Tenorio in the Pacific coastal city of Buenaventura. His stated mission was to
modernize the folkloric music traditions of his region, proudly displaying AfroIndigenous
origins and spotlighting previously marginalized musical roots yet playing in
a contemporary way with Cuban-inspired instrumentation and arrangements, uniting
disparate genres into a commercially viable whole, thus contributing to the foundation
of future developments in transnational tropical Latin music. Presented in facsimile
artwork and pressed on 180g vinyl.

First ever reissue of the sixth album by Michi Sarmiento y sus Bravos, originally
released by Discos Fuentes in 1973. The LP includes several brilliant original songs
plus a number of excellent cover tunes, and a dizzyingly diverse mix of genres:
guanguancó, cumbelé, calypso, cumbión, rumba, paseo, gaita, merengue_ A tropical
Latin dance party! Presented in facsimile artwork and pressed on 180g vinyl.

Official Mr Bongo reissue. Replica original artwork.
Mr Bongo brings another Brazilian rarity to the masses with this sublime reissue of Tim Maia’s Disco Club. Recorded in 1978, it’s a latter-period gem from the larger than life legend, combining the glitz and glamour of disco’s heyday with Maia’s raw funk and soul roots. When Maia first heard Little Richard as a teenager, he knew what kind of singer and artist he wanted to be. Five formative years spent in the US, where he ran wild in NYC and joined a doo-wop group called the Ideals, did little to dampen his enthusiasm for black music. Stirred by the civil rights movement in the US and driven by a punk spirit, Maia went on to blaze his own trail through the early 70s over the course of four successful albums for Polydor. Moving away from the straight MPB, Tropicalia and international rock dominating the airwaves, his sound represented a new black Brazilian consciousness. When he sang, he could be raspy and defiant one moment … and then romantic and reflective the next. But always on a groove and with a hook. It was an irresistible combination.
Yet by 1977 he was bankrupt and in limbo having first joined a religious cult called Superior National and then alienated listeners with his first album sung entirely in English. To complicate matters further, Brazil was feeling the Saturday Night Fever. Gloria Gaynor, Chic and Kool & the Gang were dominating the charts and filling hotspots such as New York City Discotheque in Ipanema and Frenetic Dancing Days in the Gávea Mall. Maia left his usual band and went into the legendary Estudios Level with a mighty ensemble of Rio’s finest including Paulinha Braga on drums, Jamil Joanes on bass, Robson Jorge on clarinet, Hyldon De Souza on guitar, Sidinho on percussion, trombonists Edmundo Maciel and Darcy Seixas, and Juarez Assis on tenor sax.
Arranger and keyboardist Lincoln Olivetti was a crucial presence during these sessions. He added that all-important string flourish and brassy joy to the uptempo tracks while giving the star enough room to express himself. The album kicks off with a trio of floor fillers: the exuberant party starter ‘A Fim De Voltar’, a sing-a-long anthem in ‘Acenda O Farol’ and the undeniably funky hit ‘Sossego’ (file that one next to Fatback).
But then Maia drops it down and gets existential on ‘All I Want’, questioning the meaning of happiness. He also shows his tender side on slow burners such as ‘Murmúrio’ (written by the great Cassiano) and ‘Pais E Filhos’, the latter featuring a supersoft bed of harmonies you can't help but lay down on. But the party ain’t over and mid-tempo groover ‘Juras’ gets the feet moving again before ‘Jhony’ sends us swaying off into the night.
Maia’s appetite for excess would eventually get the better of him. But Disco Club is the sound of an unpredictable genius on top form. Get ready for the time of your life.

The reissue comes on 180g. A wild solo project from Rita Lee – done after the breakup of Os Mutantes, and offered up almost as some sort of commentary on mainstream rock in the 70s.

Nigeria’s Kingsley Bucknor’s ‘Just U and Me’ LP gets the long-awaited reissue treatment from Melbourne’s Left Ear Records. After cutting his teeth playing with Fela in the 70’s and releasing two afrobeat LP’s Kingsley travelled the globe before finding himself in London, it’s here that he laid down 6 distinctive electro-funk tunes inspired by African rhythms and music he’d heard through his travels in the States and in Europe. Originally issued on Kinglsley’s own KAB records in ’85 and according to Kingsley the release was well received at the time, but due to constraints of international marketing the record remained mostly unknown outside of his homeland. Fast-forward to 2017 and the stage is set for a new global audience to appreciate the distinct sound of KB.

Far Out Recordings are honoured to be working with master composer, arranger and pianist, Antonio Adolfo for the first time since releasing his Destiny album in 2007. This time we present the first ever vinyl reissue of his era-defining Viralata LP: An essential album from Brazil's majorly progressive heyday of late seventies jazz-funk. Viralata is a sacred artefact of Brazilian music, which Antonio himself describes as ‘a product of my hybrid musical influences that joins together flavours of marchinhas de carnaval, frevo, toada, classical, baião, mpb and jazz, etc’.
The album’s first track ‘Cascavel’ is the emotionally charged, celebratory dance anthem, which became a London jazz-dance classic in the early ‘90s after Far Out label boss Joe Davis discovered a handful of copies in a second hand shop in Sao Paulo and brought them back to London to sell to DJs like Gilles Peterson and Patrick Forge. In recent years the track has been played out by the likes of Floating Points, Mr Scruff and Andrew Ashong, it was also the last song ever to play on the hallowed soundsystem of London’s beloved club Plastic People…

The sole LP by Brazilian quartet Assim Assado, originally released in 1974 by the CID-label, gets reissued on vinyl. Both the artwork and the contents make clear that the band was massively influenced by the psychedelic/progressive art-rock of the popular act Secos & Molhados. Even the androgynous element is present! Assim Assado was led by Miguel de Deus, formerly of Os Brazoes. This wonderful album is recommended to fans of Brazil's late '60s/early '70s rock scene in general, and of Secos & Molhados in particular.

After Sweet Sweet Dreams album, Jamwax is very proud to finally release D'Hardest on its original maxi 12'' format.
“D'Hardest” was recorded at K.H. studios in Trinidad in 1980 and another version/mix was released on the Wake Up album. This song is everything, thanks to Winston Bailey aka Shadow and all his team.

The release is on 180g vinyl and in a gatefold cover. Milton's second volume of tracks cut with his legendary "corner club" – with a very similar approach to the landmark first volume! Loads of great artists make guest appearances on here, like Lo Borges, Wagner Tiso, Toninho Horta, and Chico Buarque – and the production has haunting blend of baroque, jazz, and soul that we can only define as "Nascimento like"! A really fitting companion to the first volume, and a double-length set with tracks that include "E Dai", "Pao E Agua", "Canoa, Canoa", "Credo", "Nascente", "Meu Menino", "Que Bom, Amigo",

Limited edition for Record Store Day 2017!

This late '60s Colombian cult-LP (originally on Discos Fuentes) with a really raw and hard sound sees a welcome reissue on 180-gram vinyl. 'Canabrava' is a collection of cover tunes in the guaguanco, son, guajira, descarga and cha-cha-cha rhythms.

A great 70s album by Os Novos Baianos – a wonderfully youthful group that was one of the bright spots in Brazilian music after the Tropicalia years. The band had a style that mixed folksy percussion with honest personal songwriting, plus occasional touches of elements gleaned from the larger influences in Brazilian rock at the time. The album has a sound that's a lot more intimate than later work, with some especially great work on guitar and bandolim, and great production on the band's vocals. Titles include "Sorrir E Cantar Como Bahia", "Dagmar", "Vagabundo Nao E Facil", "Cosmos E Damiao", "Com Qualquer Dois Mil Reis", and "Os Pingo Da Chuva".

This is 180g vinyl. A great step forward for the legendary Tim Maia – working here in a style that's even tighter and more sophisticated than before – yet still equally filled with funk and soul.

This is a classic Latin must-have.

Banda Black Rio’s ‘Maria Fumaca’ is one of the strongest Brazilian samba-disco-funk-soul-fusion albums of all time. As regularly played by Theo Parrish, Gilles Peterson and co.

Banda Black Rio were formed in 1976 by the late Oberdan Magalhães in Rio de Janeiro. They revolutionised ‘black instrumental music’ at the time with their Brazilian re-interpretation of soul, jazz, funk and disco grooves, inspired by the likes of Tim Maia and reminiscent of Kool & The Gang and Earth Wind & Fire during their most on-point period of the 1970’s. ‘Maria Fumaca’ is the groups first album, originally released by Atlantic in 1977; a record that bought the group worldwide fame.

‘Maria Fumaca’ features in a list of the 100 greatest Brazilian albums of all time published by Rolling Stone Brazil, coming in at number 38.

180g vinyl. Incredible stuff – the kind of obscure Brazilian 70s album that first got us into the music in the first place, and which keeps us digging through the racks for more and more over the years!

Gatefold single LP including replica 8-page, full size booklet.

'Acabou Chorare' is the second album from 'Novos Baianos', or 'New Bahians', who formed in Bahia, Brazil in the 1960's. They are considered to be one of the most important and revolutionary groups in Brazilian music.

'Acabou Chorare' - translated as 'Stop Crying' - was originally released in 1972 by Som Livre after the success of their first LP 'É Ferro na Boneca’ in 1970. It is considered to be one of the most important and influential albums of all time, charting at number one in a Rolling Stone Brazil's 'Top 100 Brazilian Albums Ever' chart. 'Preta, Pretinha’ placed 20th in the same publications list of the greatest Brazilian songs of all time. Upon release, 'Acabou Chorare' stayed near the top on the album charts for more than thirty weeks, and received huge radio support across the country. It also became very popular in Europe shortly afterwards.

The unique sound of this record is a result of the fusion of samba, MPB, rock 'n' roll and bossa nova, and strong influences from Joao Gilberto, who frequently played with the group, and bossa nova legend Gilberto Gil.

The album was written by Moraes Moreira, Luiz Galvão, Jorginho Gomes, Assis Valente, Pepeu Gomes and Paulinho Boca de Cantor. After recording, the group moved to a communal house outside Rio, where Galvão apparently shot video footage of the group on his Super-8 video recorder, some of which is featured in this documentary https://www.youtube.com/watch?v=m6J0bg9MdMo. Baby Consuelo was a member of the group - she went on to have a very successful solo career.

Reissued on 180-gram black vinyl. A legendary set of Latin music.

Reissued on 180 gram vinyl in gatefold sleeve!

Around the year 1970, almost everything appeared to have been said about the style of music over the past two decades, which was a mix of samba and cool jazz. Adventurous musicians such as Luis Bonfa, Baden Powell, Charly Byrd, João and Astrud Gilberto, and the saxophonist Stan Getz lent fire and sentiment to the “new trend”. First and foremost among them was Carlos Antonio Jobim, whose catchy tunes such as the ticking, shuffling song "Desafinado" and the genial "One Note Samba" were heard all over the globe.
That the man from Ipanema still had a lot to say is proved by the present album, which presents Jobim’s creativity at the height of his maturity. Right from the very first number, where Urbie Green on the trombone 'sings' "Tereza My Love" so purely in the top register, it is clear that the late bossa with its typical rhythm is structurally far more refined than the early hot dance numbers. The melodies are woven through, as it were, with shining gold and silver threads of rhythm, and clusters of sound are light and airy. However, here and there, the musicians let their hair down, such as in the Latin classic "Brazil".
With that magician of sound Deodato as arranger and conductor, and Rudy van Gelder as recording engineer, this LP is certainly a Bossa masterpiece. There’s no more to be said!

Polysom Brazil vinyl LP repress import, released in 1973. Crazy stuff! This record is incredible, with a mix of amazing songs that piece together hard percussion, spare production and some of the strangest vocals ever recorded in Brazil.

Polysom Brazil vinyl LP repress import, released in 1971. Erasmo Carlos sounds even cooler here than usual – still working with tunes penned with his brother Roberto – but also taking on music by Caetano Veloso, Jorge Ben, and Marcos Valle too!