This two-fer from WEA International features a pair of out of print Sergio Mendes LPs: Great Arrival and Beat of Brazil. Originally issued on Atlantic Records in 1966 and 1967, respectively, these 22 easy listening, Latin pop songs include "Monday, Monday," "Desafinado," "Garôta de Ipanema (The Girl from Ipanema)," and "Here's That Rainy Day." This is a nice sampler of familiar items that should satisfy the needs of casual fans.

Bossa Nova translated as the "new beat" or "the new style", grew out of Rio De Janeiro in 1958. The instigators were a handful of artists with a desire to break from tradition, developing the samba rhythms with the influence of cool American jazz to find a music with such a warm soul and natural rhythm that no-one can help but tap and sway to its beat. Bossa Nova is palm trees swaying, it is like melting sugar in hot coffee, it is the setting sun and warm sand underfoot. It is the sound and beat of Brazil, it is one of the world's coolest musical styles and it remains to this day one of the world's great musical treasures.

Recorded at a video taping in the Wiltern Theatre in Los Angeles as part of the Jazzvisions series, this was Jobim's live act shortly after he resumed touring in the mid-'80s. At the time, Jobim struck an avuncular, almost casually anti-show-business presence seated before a grand piano, presiding over a large ensemble composed of friends and family, singing in his endearingly rough, now-threadbare voice. Some of the performances here are little more than pro-forma run-throughs of standard Jobim oldies but things perk up when Jobim digs into some lesser-known compositions like his "Song of the Jet" and son Paulo's catchy "Samba do Soho." In any case, the material is always superb and the cool-voiced, always in-pitch Brazilian singer Gal Costa turns up on a few numbers.

Way more than just a gimmicky bossa nova session - and a surprisingly great showcase for the inventive rhythms of the Brubeck group, and the sensitive alto work of Paul Desmond! The record's got a really different feel than some of Dave's other work for Columbia - in that the modernism is put slightly on the back burner - letting drummer Joe Morello snap out with some lightly gliding percussion that's a bit more straight ahead than usual, and which offers a unique take on the bossa groove. Paul Desmond's the real star of the set, though - and his alto steps out here with the best gentle presence of his later work for RCA and A&M - beautifully blown throughout, and with a tone that most other players would die for!

As one of the most loved jazz vocalists, modern jazz heroines, and prolific vocalists, Rosemary Clooney gives a very beautiful and feminine side to Brazilian jazz on Brazil, a sensitive musical feeling of 16 ripe standards. This wonderful collection is dedicated to Antonio Carlos Jobim, Frank Sinatra, and Nelson Riddle through her amazing ambience of sensitive phrasing, lovely nuance, and splendid rhythmic shadings. Rosemary Clooney is joined by the lovely Diana Krall on "Boy from Ipanema" in a stunning vocal duet accompanied by Oscar Castro-Neves on guitar. John Pizzarelli sings "Wave," with the light, airy brilliance of a light kept burning throughout the night, and duets with Clooney on "Desafinado," "One Note Samba," "Let Go," "Dindi," and the reprise of the title track, "Brazil." Together they bring a redefined sensitivity and captivation to these Brazilian standards through their excellent harmony and melodic concepts…

Lisa Ono's new album, recorded in November 2025 at Onkio Haus in Tokyo, presents an intimate piano duo collection of beloved Antonio Carlos Jobim melodies performed with pianist and producer Masaki Hayashi, featuring Lisa Ono on vocals and guitar, Masaki Hayashi on piano, whistle and chorus, and guest musician Sadao Watanabe on alto saxophone for tracks 03, 07 and 12, creating a warm and improvisational reinterpretation of Jobim's masterpieces in celebration of his 100th birth anniversary in January 2027, with liner notes written by Haruki Murakami and marking Ono's first Jobim-focused release in 19 years as well as her first recording collaboration with Watanabe since their reunion at the April 2025 festival Tsukiji Jam following their original meeting in Sao Paulo when she was nine.

This LP features the Stan Kenton Orchestra (during the period when it had a mellophonium section) performing some of its familiar standards and a few newer songs with a light Brazilian rhythm provided by percussionists Frank Guerrero and Milt Holland (Larry Bunker fills in for Holland on three songs). Although one might consider this project to be an example of Kenton jumping on the bandwagon (since the bossa nova fad was at its peak at the time), the music is quite enjoyable. Kenton on piano is the main soloist throughout, with Conte Candoli having a couple solos on trumpet and high-note trumpeter Bud Brisbois getting a few spots. Kenton's "Brasilia" is a charming piece deserving to be revived. Otherwise, it is interesting to hear such songs as "Interlude," "Concerto to End All Concertos," "Eager Beaver," and even "Artistry in Rhythm" in this setting.

Although she was already a veteran songwriter and recording artist, Wanda de Sah was pegged as "the new thing" by American marketing executives during her stint in Sergio Mendes' first pop incarnation, Brazil '65. Although that group wasn't popular - it was actually a new collective, Brazil '66, that gained fame - she was soon signed by Capitol for a record and assigned to arranger Jack Marshall (who had played guitar on many sessions and written the chart for Peggy Lee's "Fever" as well as The Munsters theme). The material came from the Brazilian songbook, at least the parts of it already familiar to Americans (including some Brazil '65 songs as well as Jobim and Getz/Gilberto standards). Although Astrud Gilberto is a touchpoint for Wanda de Sah, she didn't have the same candle power; her singing is more subdued and slightly more intricate, but no more melodic or winsome…

A great chapter in 60s bossa jazz - Zoot Sims "answer" to Stan Getz's bossa work on Verve - recorded in a similar jazz-meets-bossa style, with some great guitar work by Jim Hall! Zoot's solos are a bit tighter and not as laidback as Stan's - giving a more jazz-based sound to the work that makes for a nice change - and most of the tunes feature larger backings from Manny Albam and Al Cohn - never too over-arranged, but with enough of a full swinging sound to set things right. Hall's guitar works surprisingly well in the setting.

Finally Blue Note issues a Latin collection from its Italian (Italiana SPA) and Brazilian (EMI-Odeon) vaults that reveals the true diversity of its catalog and exploits some of the serious sensuous grooves that DJs have been spinning for over a decade. This is the first of three volumes, all of which feature the rarest most representative tracks from the various trends in jazz that grew out of Brazilian pop in the '60s, '70s, and even '80s. For starters, there's the mean brass swagger of Luis Amuda Perez on "Upa Neguinho," which was written by Edu Lobo. Besides being a popular dance tune (you can hear that in the opening measures), it is a masterpiece of Brazilian big band arrangement. Also featured is the stellar "Noa Noa," a trademark of Sergio Mendez.

Everything but the Girl (sometimes described as EBTG) were an English musical duo, formed in Hull in 1982, consisting of lead singer and occasional guitarist Tracey Thorn and guitarist, keyboardist, producer and singer Ben Watt. Everything But The Girl have received eight gold, and two platinum album BPI Certifications in the UK, and one gold album RIAA Certification in the US. They had four top ten singles and twelve top forty singles in the UK. Their biggest hit song "Missing" charted high in several countries and reached number two on the US Billboard Hot 100 in 1995.

First released in 1984, Eden is the acclaimed debut album from Everything But The Girl - the best-selling UK duo formed in 1982 by singer-writer-musicians Tracey Thorn and Ben Watt - and arrives in a new 26-track deluxe CD reissue edition featuring additional B-sides and extra tracks.

“The Music Of Antonio Carlos Jobim” by Rio Moods is a beautifully crafted tribute to one of the most influential composers in Brazilian music history. Released in 1998, the album celebrates the timeless legacy of Antonio Carlos Jobim through a refined blend of jazz, bossa nova, and Latin influences. The performances are smooth and elegant, capturing the essence of Jobim’s sophisticated harmonies and melodic richness. Each track is interpreted with care, balancing authenticity with a fresh and modern touch. The arrangements highlight the gentle rhythms and atmospheric qualities that define bossa nova, while incorporating subtle jazz improvisation and world music textures. From well-known classics like “The Girl from Ipanema” and “Desafinado” to other beloved compositions, the album offers a cohesive and relaxing listening experience. It is an ideal collection for listeners who appreciate refined musicianship, warm melodies, and the enduring charm of Brazilian jazz traditions.