Morelenbaum² / Sakamoto is a trio formed with Japanese composer and pianist Ryuichi Sakamoto by Brazilian cellist Jaques Morelenbaum and his wife, vocalist Paula Morelenbaum. In 2002, they released a debut album Casa (meaning "house" in Portuguese). The album is a tribute to Antonio Carlos Jobim with an emphasis on a lesser-known material, recorded at Jobim's home in Rio. Paula and Jaques had been touring in a band with Antonio Carlos in 1984–1994, and Sakamoto played in a bossa nova group as a teenager, returning to the genre in his mature qualification. Morelenbaum² / Sakamoto second album A Day In New York presents five more compositions of Jobim plus three extra tracks from other composers, as well as new versions of songs from Casa. Collection includes: Casa (2001); Live In Tokyo (2001) and A Day in New York (2003).

Astrud Gilberto has never been properly anthologized by Verve Records; although they've released a number of compilations over the years, none of them have been definitive, and most of them have been rather skimpy. 1987's The Silver Collection, originally released only in Europe but later imported to North America, is an idiosyncratic selection. It omits "The Girl From Ipanema," her biggest hit, includes all 11 tracks from her 1965 release The Astrud Gilberto Album, and adds on a selection of singles and album tracks recorded from 1965 to 1970 with no particular logic. All that said, however, it's still one of the best compilations available of this idiosyncratic but brilliant singer's '60s material. Jazz purists turn up their noses at Gilberto, correctly pointing out her near total lack of technical ability. However, the Brazilian songbird's appealingly plain voice, with its deliberately wobbly pitch (the "desafinado" style celebrated in Antonio Carlos Jobim's song of that title), total lack of vibrato, and deadpan phrasing, is a delight for those attuned to its charms.

Astrud Gilberto's entry in the nicely appointed Verve Jazz Masters compilation series shows exactly why the Brazilian singer is deserving of such an accolade. In her '60s heyday, Gilberto was often derided by jazz purists for her vibrato-less "desafinado" (deliberately slightly off-pitch) singing style and deadpan, childlike voice. But the diminutive bossa nova star has since been a huge influence on dozens of jazz and pop singers. VERVE JAZZ MASTERS is less of a greatest hits package than it is a smartly balanced retrospective of many of Gilberto's best performances. Her biggest hits, "Call Me" and "Summer Samba," are not included, and her signature tune, "The Girl From Ipanema," is only represented by a live take from a 1964 Carnegie Hall concert. The collection places equal emphasis on Gilberto's bossa nova-style interpretations of jazz standards and on her signature Portuguese-language sambas.

Born in February 26, 1939 in Rio de Janeiro, Simonal discovered his artist vocation while he was doing obligatory military service. Like others big Brazilian artists, he started his career playing at bars and night clubs in Rio, singing rock, mostly in English. He composed and produced for Carlos Imperial, who found him, and took him to his TV show, helping to record his first album, in 1963, very Bossa Nova influenced. Right after that Simonal became one of the main artists of that time, with the hits "Meu Limão, Meu Limoeiro", "Mamãe Passou Açúcar em Mim" e "Sá Marina". At some point, Simonal was accused of collaborating with the Brazilian military regime (1964-85), which, some claim, took him away from the public during the 80s and 90s. And he came back with the album "A Bossa de Wilson Simonal". He died on July, 2000. The year of 2009 may well be remembered as an important milestone in Simonal's artistic redemption - albeit again resurfacing his and his family's tragic personal lives. The documentary "Simonal - Ninguem Sabe O Duro Que Dei" and its soundtrack, together with Ricardo Alexandre's biography "A Vida E O Veneno De Wilson Simonal" were released during the year.

An incredible batch of Brazilian fusion – cut by keyboardist Manfredo Fest, and one of the few records he ever waxed in the US during the 70s! The record mixes Fest's soaring Brazilian groove with a tight soulful set of arrangements by Jerry Peters – a bit club-oriented, with a similar sound to some of the other records on the Tabu label at the time, but always sensitive to Fest's playing and writing – especially his Brazilian roots! The record features wonderful vocals by Roberta Davis – a very soulful singer who had a hip wordless style that was similar to Tania Maria's at the time – breezy, scatting, and very nice. Her work really makes the record sparkle, working perfectly with Fest's jazzy electric keyboards in a perfect way!

44 original recordings from iconic Brazilian artists and American jazz & pop legends: Antonio Carlos Jobim, Stan Getz, Astrud Gilberto, João Gilberto, Flora Purim, Nacho Méndez, Dave Brubeck, Charlie Byrd, George Benson, Sarah Vaughan, Miles Davis, Dextor Gordon, George Duke, and many many more… 3CDs, housed in a fold out card digipack case.

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.

Nelson Angelo & Joyce - Nelson Angelo & Joyce (1972) is a collaborative album by two prominent Brazilian musicians, Nelson Angelo and Joyce Moreno, released in 1972. This self-titled album is a remarkable fusion of MPB (Música Popular Brasileira) and bossa nova with influences from jazz and Brazilian folk music.

"VA - The Girl From Ipanema (1992)" is a compilation album that features a selection of Brazilian bossa nova, jazz, and Latin-inspired music. The title is a reference to the iconic bossa nova song "The Girl from Ipanema," which was written by Antonio Carlos Jobim and Vinícius de Moraes, and became internationally famous in the 1960s, particularly through the famous rendition by Astrud Gilberto and Stan Getz.

There may never be a setting as beautiful or a locale as ideal as a breathtaking ocean view complete with the sounds of beautiful Latin jazz floating over the ocean breeze. The fifth CD in the Colors of Latin Jazz series sets the scene for a collection of contemporary, smooth jazz peppered with Latin rhythms and percussion. This CD is a musical hybrid that's at once cool and smooth, yet hot and spicy! Up first is Jeff Linsky's beauty "Up Late," originally issued on Up Late by Concord Picante. His dynamic colors beckon the listener to "Come With Me," the second track sung and scatted by the inimitable Tania Maria on a cool samba just right for a hot day or night. Another smooth scorcher, "San Sabastian" by Ed Calle with special guest Arturo Sandoval is some of Sandoval's most melodic sax work bordered on all sides by the beauty of Spanish guitar, brass, and strings.

America/Brasil is a rollicking, celebratory album that keeps Herbie Mann on the winning streak he started with the release of Peace Pieces in 1995. Recorded during a week of concerts to mark his 65th birthday in April 1995, this disc is much stronger than its immediate predecessor, Celebration, also taken from the same week of live concert performances at New York's Blue Note jazz club. The material here is superb, and the playing top-notch. As the title implies, the emphasis here is on Mann's Brazilian side, but there are touches of the non-Brazilian with Bill Evans' "Peri's Scope" and Miles Davis' "All Blues." "Summertime" is recast in an Afro-Cuban mode with Paquito D'Rivera sharing the solo space on alto sax. However, lengthy Brazilian showstoppers are placed at the beginning, middle, and end of this wonderful disc. The opening "Keep the Spirits Singing" is propelled by the polyrhythmic pulse of percussionists Cyro Baptista and "Café," and the 17-minute title track finale features trumpeters Randy Brecker and Claudio Roditi, trombonist Jim Pugh, and guitarist Romero Lubambo.

Marcos Valle was the Renaissance man of Brazilian pop, a singer/songwriter/producer who straddled the country's music world from the early days of the bossa nova craze well into the fusion-soaked sound of '80s MPB. Though his reputation in America never quite compared to contemporaries like Caetano Veloso, Milton Nascimento, Gilberto Gil, or even Tom Ze, Valle is one of the most important and popular performers in the history of Brazilian pop.

A superior Brazilian jazz singer, Ana Caram takes a slight detour on this CD, stretching her repertoire while mostly still performing in a style influenced by bossa nova. One does not get to hear such songs as "I'm Getting Sentimental Over You," "Raindrops Keep Falling On My Head," "Smile," and "As Time Goes By" in a bossa nova setting that often. Also unusual is that Michel Freidenson plays all of the instruments other than the reeds (which are performed by Lawrence Feldman), and most of his electronic instruments sound real enough not to be an issue. The focus throughout is on Caram's lovely voice and she excels on this material, showing that it really is not what you sing but how you sing it. Recommended.

This Fusion gem puts one of the most underated vocalist together with a few 70's fusion heavyweights and out comes a very enjoyable recording. George Duke, Alphonso Johnson, Airto and friends put out some of the hippest fusion in the 70' & 80's. Flora uses their musical abilities to the max on "That's What She Said." Using a variety of wordless vocal technics layered over electric keyboards and driving rhythms, these songs capture the fun and freedom that fusion later lost as it grew more commercial. Flora's entire catalog is ripe with music like this.

hree decades after Azymuth made their first tentative steps into bossa nova society, Brazilian Soul is a return to their blistering form of the early '80s. The new album sees them borrowing from the musical vocabulary that has always been one of the most exciting narratives of Brazilian music, as well as indulging their enthusiasm for new sounds that still makes them heroes and inspirations to a generation of 21st Century producers, from 4Hero to Masters At Work. They have linked up again with a truly great cast of celebrated Brazilian performers, some who were there at the genesis of Azymuth, and some who hitched a ride during the last 30 years – any history of Brazilian music that didn’t include names featured on the album like Roberto Menescal, Fabiola, Emilio Santiago and Marcio Lott wouldn’t be one to be trusted. Although their sound hails from the tropical funk scene which emerged in Rio in the mid '70s, their music is still as pertinent now as was then – their live shows demonstrate that the percussive furnace which drives their sound is still burning bright.