Brasileiro

Brasileiro

by Sergio Mendes
     
 

Imagine a talented veteran musician/producer, someone like Paul Simon or Alan Toussaint, introducing American music to the rest of the world. The record would be sharp, rootsy, and hit a variety of genres, but present them in an inventive way. It would use the best musicians in the business. It would be fun. And it would be like what Sergio Mendes did for Brazilian… See more details below

Overview

Imagine a talented veteran musician/producer, someone like Paul Simon or Alan Toussaint, introducing American music to the rest of the world. The record would be sharp, rootsy, and hit a variety of genres, but present them in an inventive way. It would use the best musicians in the business. It would be fun. And it would be like what Sergio Mendes did for Brazilian music with his BRASILEIRO. Mendes bubbled to the top of the bossa nova movement as a young pianist in the late '50s, then reinvented himself as an American pop star with the group Brazil 66. Then, seemingly out of nowhere, Mendes snatched a 1992 Grammy with this celebration of the traditional music of his native land. The album is also notable as the world's real introduction to Carlinhos Brown, whose quirky talents conjure comparisons to Prince. Writing, singing, and playing, Brown and Mendes make music that spans different eras as well as different lands. Mendes begins and ends with a huge drum corps playing a studio version of a Rio carnival samba. In between, they mix various rhythms to simultaneously evoke a sense of past and present. They play rap on pounding Bahian drums, mix Northeastern forró with funk, samba-reggae with baião. With its illuminating liner notes, this album is like a Brazilian Music 101 course. Its sophistication and savvy, however, don't get in the way of a good time.

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Editorial Reviews

All Music Guide - Richard S. Ginell
What 1989's Arara hinted at, 1991's Brasileiro delivers with a vengeance, for at long last, here is a genuine, back-to-Brazil tour de force by expatriate Mendes. Taking up the long-abandoned thread of his prophetic Primal Roots album of 1972, Mendes went back to the taproots of his heritage, calling upon a plethora of explosive Brazilian rhythms and sounds recorded mostly in Brazil. Though he returned to California to pile on additional tracks from L.A. sessionmen and give the production a finished sheen, there is no sense of any watering down; the thrust of the music bears the added weight and polish easily. With the rat-a-tat opening of thunderous Bahian-influenced percussion from the streets of Rio, "Fanfarra (Cabua-Le-Le)" gets the CD off to a tremendous start, and "Magalenha" continues the assault directly from the hands of Bahian percussionists. Energetic fusions of this and that abound on this recording. Combining forro and samba reggae with Indiado stomps and shouts (the convincing horn riffs are performed on synths), "What Is This" -- good question -- is a romping Bahian take on hip-hop, and "Kalimba" grafts Portuguese vocals onto a swinging American funk groove. Mendes once again draws upon the giants and comers of Brazilian songwriting -- Ivan Lins, Gilberto Gil, Joao Bosco, Carlinhos Brown, and Guinga -- and the unusual 3/4-meter samba "Pipoca" is the creation of do-everything mystery man Hermeto Pascoal. Dominating the signature Mendes vocal blend is Gracinha Leporace (Mrs. Mendes), who sounds more vibrant than ever on these tracks, and bassist Sebastian Neto also returns to the Mendes fold. This was Mendes' most electrifying album in at least two decades; you have to go back all the way to -- well -- Primal Roots to hear this artist operating at such a peak.

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Product Details

Release Date:
05/12/1992
Label:
Elektra / Wea
UPC:
0075596131520
catalogNumber:
61315

Related Subjects

Tracks

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Album Credits

Performance Credits

Sergio Mendes   Primary Artist,Synthesizer,Percussion,Keyboards,Vocals,Background Vocals
João Bosco   Vocals
Marcio Bahia   Drums
Carlinhos Brown   Percussion,Vocals,Background Vocals
Robbie Buchanan   Synthesizer,Keyboards
Luis Conte   Percussion
Nathan East   Bass,Bass Guitar
Russell Ferrante   Synthesizer,Keyboards
Paul Jackson   Guitar
Claudio Jorge   Acoustic Guitar
Gracinha Leporace   Vocals,Background Vocals
Kevyn Lettau   Vocals,Background Vocals
Carlos Malta   Flute,Saxophone
Jovino Santos Neto   Keyboards
Hermeto Pascoal   Keyboards
Pernambuco   Percussion
Eric Persing   Synthesizer,Keyboards,Synthesizer Horn
Joe Pizzulo   Vocals,Background Vocals
Joe Porcaro   Drums
Carol Rogers   Vocals,Background Vocals
Michael Shapiro   Percussion,Drums,Background Vocals
Steve Tavaglione   Flute,Oboe,Alto Saxophone,Tenor Saxophone
Itibere Zwarg   Bass,Bass Guitar
Jerry Moore   Tenor Saxophone
Kleber Jorge   Background Vocals
Zeca   Percussion
Tião Neto   Percussion,Vocals,Background Vocals
Alfredo Moura   Synthesizer,Keyboards,Background Vocals
Carolina Sabino   Background Vocals
Gustavo Di Dalva   Percussion
Vivian Manso   Background Vocals
Francisca Maria Monjardim   Vocals,Background Vocals
Fabio Pascoal   Percussion
Karla Preito   Vocals,Background Vocals
Vai Quem Vem   Percussion,Background Vocals
Leo Silva   Vocals,Background Vocals
Robson Silva   Vocals,Background Vocals
Jurema Silva   Vocals,Background Vocals
Jussara Silva   Vocals,Background Vocals
Leila Monjardim   Vocals,Background Vocals
Meia Noite   Percussion
Lourenco Olegario   Vocals,Background Vocals
Beloba   Percussion
Carmen Alice   Percussion,Vocals
Mario Conceicao   Percussion
Alceu Do Cavaco   Cavaquinho
Alexandre Guedes   Percussion
Guinga   Acoustic Guitar
Sinhô   Percussion
Cláudio Nucci   Vocals
Paulo Dias   Percussion
Jimmy Johnson   Bass,Bass Guitar

Technical Credits

Sergio Mendes   Arranger,Producer,Liner Notes
David Bither   Art Direction
Carlinhos Brown   Arranger
Robbie Buchanan   Contributor
Bernie Grundman   Mastering
Hermeto Pascoal   Arranger
Eric Persing   Arranger,Programming,Contributor
Bruce Swedien   Arranger
Antonio "Moogie" Canazio   Arranger,Engineer
Alfredo Moura   Arranger,Horn Arrangements
John Heiden   Art Direction
Heitor dos Prazeres   Paintings
Chris McGowan   Liner Notes

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