"Txai" is described as a term of respect for those who are allies of the forest – and such is the focus of this concept album, the end result of a fact-finding voyage through part of the northern Brazilian watershed. Utilizing forces ranging from a simple dialogue between Milton Nascimento's baritone and percussion to a large orchestra and chorus (often arranged by Wagner Tiso), Nascimento shares his thoughts about the rivers and nature, ultimately warning us not to let the forces of capitalism destroy the Amazon rain forest (reinforced by a spoken passage written and narrated by actor River Phoenix). The songs are separated by wild-sounding interludes of folk music from the peoples of the region, and there is a fascinating vocal/percussion arrangement of Heitor Villa-Lobos' "Nozani Na."

It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

To call Marcos Valle 'a legend' of Brazilian music is much more than just easy press-release hype. As singer, writer, musician and record producer, Marcos has played an integral role shaping the sound of the country’s music from the 'golden era' of the 60s and 70s, through to the modern day. Alongside his brother, Paulo Sergio Valle, they have penned a huge catalogue of classic songs, not just for themselves but for other greats such as Elza Soares, Astrud Gilberto, Claudia to name a few.

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. This is a tough bossa nova trio jam, with arpeggiated piano figures cutting right through the rhythms in the tune. In addition, Mandrake Som's "Beriambu" was the first to utilize in a swinging pop jazz context the use of the one string percussion instrument – there's also a very soul-jazzy sax solo in the break. This set's full of warm, frighteningly good examples of bossa, samba, and even the MPB and Joven Guarda rhythms as they inform folk and jazz melodies and modal figures.

Matizes is Djavan's 18th studio album, and another exemplary display of his unique style of composition and singing. As usual, Djavan writes songs that incorporate elements of jazz, bossa, soul, rock, blues, pop, and just about everything under the sun that is immaculately elegant, and yet that can never be pinpointed to any specific genre. Similarly, his lyrics exude a languid romanticism, although, as in "Imposto," he may also occasionally indulge in social criticism – of course, those who do not speak Portuguese would never be able to comprehend its incensed subject matter, since Djavan's vocal delivery remains as suave as ever. However, as accomplished as it is, Matizes is no masterpiece, but just a fine addition to Djavan's impeccable discography.

The Portuguese title of this Gilberto Gil release makes ambiguous references to "changes" and "dance." In fact, it is a dance-oriented album, basically dealing with electric funk grooves. It's a good album that has plenty of Brazilian percussion filling the gaps of the backbeat. More attention to melodies is dispensed in "Mulher de Coronel," in the samba "De Bob Dylan a Bob Marley" (with interesting lyrics dealing with racial problems), in the pop ballad "Cada Tempo em Seu Lugar" (also having good lyrics about the urge of helping), and the beautiful hit the pop ballad "Amarra o Teu Arado a Uma Estrela."

2 Lados - o melhor dos grandes compositores do Brasil. «2 Lados» reune o melhor que a musica brasileira ja apresentou ao mundo. Ivan Lins, Milton Nascimento e Toquinho em discos duplos apresentam o melhor da sua composicao e interpretacao. «2 Lados» e best of e songbook numa mesma embalagem. Cada um dos CDs duplos da coleccao e focado num compositor que, como e tradicao na MPB, tambem e interprete de grandes sucessos. O CD1 exibe o seu lado cantor das proprias composicoes e de cancoes de outros colegas da musica brasileira. O CD 2 complementa o perfil mostrando um outro lado de sua obra na voz dos maiores interpretes da MPB. 28 faixas em cada um dos 17 titulos, a coleccao revela os «2 Lados» de artistas como Tom Jobim, Ivan Lins, Toquinho, Milton Nascimento, Chico Buarque, Vinicius de Moraes e Caetano Veloso.

João Gilberto Prado Pereira de Oliveira was released in 1980 by João Gilberto. It was recorded in 1980 live on TV Globo. In English, that would be his entire Brazilian ancestral last name written on his studio album.

From the first chord to the last word of Rua dos Amores, Djavan’s new album is an exciting collection of songs from the artist known for his unique style within the Brazilian music scene. Djavan has written the lyrics and melodies of all 13 new songs on the album and in addition, he is also responsible for all the final arrangements and production.

MiLagreiro was one of the most critically acclaimed MPB albums released in Brazil during the year 2001. The record starts off very well with the xote-styled opening track, "Farinha," which is perhaps the biggest highlight of the album. Another good song is "Infinitude," on which Djavan collaborated with Flбvia Virgнnia. On the excellent, somewhat Latin-flavored title track, Djavan is joined by rock singer Cбssia Eller. As usual, there are several typically Djavan-styled ballads on the album, such as, for example, the bossa nova-styled "Brilho da Noite." Generally, the music on Mi Lagreiro is quite simple and sparse, and it gives the impression of being very spontaneous. Perhaps the fact that the album was recorded at Djavan's own home contributed to this positive, unpretentious atmosphere.

Import five CD release from the acclaimed Brazilian singer, songwriter and guitarist contains five of his classic albums housed in paper sleeves in one package. This set features the albums Wonderful World Of (1965); Love Strings & Jobim (1966); A Certain Mr Jobim (1967); Urubu (1976) and Terra Brasilis (1980).

Não É Azul, Mas É Mar é o oitavo álbum de estúdio do músico, cantor e compositor brasileiro Djavan, lançado em 1987 pela Columbia. Gravado em Los Angeles nos Estados Unidos, foi lançado no Brasil, Estados Unidos, Japão e em alguns países da Europa, sendo que nos três últimos países o álbum foi lançado na versão em inglês, intitulada Bird of Paradise. Os principais hits do álbum são "Soweto", "Me Leve" e "Dou-Não-Dou" (um dos principais hits do álbum, selecionado para entrar na trilha sonora da telenovela brasileira Mandala, em 1987) e alguns outros de destaque entre público e crítica: "Florir", "Maçã", "Doidice" e "Carnaval do Rio".

After recording two albums in Los Angeles and spending at least two years taking his music to every corner in the world, finally, in 1986, Djavan recorded an album in Rio de Janeiro, accompanied by the swing of his Sururu de Capote band. And, nothing better than be back to samba. The many aspects of “Meu Lado” had to include Djavan’s ancestral connection to Africa, something that he discovered through music. As a contribution to the international struggle against apartheid, which in 1986 still officially segregated wealthy whites from poor oppressed blacks in South Africa, Djavan recorded “Hino da Juventude Negra da África do Sul”, accompanied by a vocal group from that country.