Latin | Brazil Vinyl 344 Items

This one takes us back! We originally reissued Waltel Branco's 'Meu Balanço' in 1995, it was one of the first releases to come out on Mr Bongo. It is a much-requested title with original copies becoming ever more-scarce and the price tag increasingly rising, so it feels fitting to present this stunning record once again for all to enjoy.

Waltel Branco was born in Paranaguá, Brazil in 1929 and died in Rio de Janeiro in 2018. During his triumphant career he accumulated an impressive musical portfolio. A true maestro who from the 1950s onwards appeared on productions as a guitarist, writer, conductor, composer, and arranger. He worked with some of the greats of Brazilian music including Elis Regina, Dom Um Romao, Bossa Três, Marcos Valle and Tony Bizarro to name just a few.

'Meu Balanço' was originally released on CBS Records Brazil in 1975. It is Brazilian big band, orchestrated jazz-funk at its finest. Echoing the library and film productions created in Europe and the USA at the time, it also displays the hallmarks of Waltel’s heritage with distinct threads of Brazilian flavour running throughout. The musicians on the record include under-the-radar players that were the backbone of the Brazilian music industry in the 1970s including Luizão Maia on bass, Edmundo Maciel on trombone and Paulinho Braga on drums.

The album flirts between jazz-funk, cinematic library excursions, breaks and beats, easy-listening, and 70s cop show instrumentals. It is a breezy ride into Waltel's world, wonderfully nostalgic and of another time and place, yet snippets of the production echo the beats of contemporary hip-hop iconic artists such as Madlib, knxwledge and The Alchemist.

Belgium, not the first place you'd think of when it comes to Latin or Afro funk. Yet one of the greatest records to blend both styles came from the small northern European country, masterminded by Nico Gomez and his Afro Percussion Inc.

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.

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.

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.

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.

OBI is missing!

OBI is missing!

OBI is missing!

OBI is missing! Cover with seam split!

For the first time reissued, with the great contribution of Miguel de Deus's family in São Paulo, that supplied the amazing collection of photos for the 4 pages inner, inside the LP. This limited edition is a highly collectable for fans of brazilian soul, groove and psychedelia. It's our contribution to pay respect to one of the most important brazilian musicians of the late 60's and early 70's. Main brain of bands like OS Brazões and Assim Assado, he let us an amazing legacy for new generations. This is a small, but more than deserved homage to him, finally. Miguel de Deus was the protagonist of this amazing Afro-Funk movement, together with a group of “heavy” musicians, as they were called in those days of consolidation of a strong Black Power scene, mainly composed of black youth from the outskirts of the suburbs of São Paulo and Rio de Janeiro, where the movement took the name of Black Rio. Its raw Rock-Funk-Psychedelic-Tropicalia.

Next up in the Mr Bongo Cuban Classics series is an outing by the mighty Juan Pablo Torres from 1978. Released on Cuba’s state-owned Areito imprint, Algo Nuevo showcases trombonist, bandleader, arranger and producer Juan Pablo Torres' unique scope of sound. A melting pot of an album that weaves together jazz-funk and traditional Afro-Cuban genres with tripped-out synth touches and dancefloor grooves.

The opener 'Pan Caliente' is a fiery celebration, combining a driving groove with Latin percussion, feverish horns and infectious “la-la-la” vocals. The wild, squelching cosmic synthlines give an otherworldly touch to proceedings that sit nicely on a modern dancefloor. 'Guajira 2001' is perhaps Juan's future-focussed take on the vibrant style of Cuban dance-led music called guajira. Blistering bongos, congas and claves moving together with trumpets, trombones and twanging acoustic guitars that you can’t help but bounce to.

Other highlights include, 'Cacao', a Cuban cosmic funk strutter that places the claves upfront, with a scatting vocal line and percussive climax reminiscent of George Kranz electronic disco anthem 'Din Daa Daa' from 1983. Elsewhere, 'Elvira' further showcases the psychedelic essence of many of the album’s tracks. A deep Latin workout where tasty percussive breaks and scorching keys blend with trippy vocals and rumbling synths.

A varied album encompassing a variety of Afro-Cuban genres and rhythms entwined with flashes of mind-bending cosmic influence. Algo Nuevo is a further jewel in Cuba’s musical crown of riches, with plenty of dancefloor treats and downtempo numbers held within.

Japanese pressing without OBI!

OBI is missing!

One of the most obscure records ever released in Venezuela that was originally distributed in tiny quantities as a promo-only album in 1972. A magic blend of protest songwriting, with a strong environmentalist statement, and folky pop with psych ingredients -such as the use of sitar sounds- recorded by the collective of artists "Una Luz", and "El Zigui" who was once described as the local Bob Dylan. Latin, Psych, Folk - First time reissue, 180g LP, RSD exclusive release, 500 copies ww.

“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.”

OBI not included.

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.

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!

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.

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",

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 a classic Latin must-have.

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!

Japanese pressing with OBI!

OBI is missing!

Still sealed. Limited edition. 2020 reissue.