Lamartine Babo "Carnaval De Lamartine Babo" (Sinter, 1955)

Lamartine Babo/Various Artists "O Carnaval De Lamartine Babo" (Revivendo)

Baby Do Brasil/Baby Consuelo - see artist discography

Bacamarte "Depois Do Fim" (Som-Arte, 1983) (LP)
A legendary Brazilian prog album, mainly a showcase for guitarist Mario Neto, who wrote or co-wrote all but two of the songs, and also an intriguing change of pace for vocalist Jane Duboc, better known for her work in the world of jazz ballads. There are lyrical, pastoral passages (particularly those featuring flautist Marcus Moura) but also a lot of searching, note-heavy guitar work, reminiscent of guitar heroes such as Jeff Beck and Yngwie Malmsteen. This is really not my kind of music, but I will take the word of the many prog fans who've flocked to this record: good for the genre.

Carol Bach-y-Rita "What Love Is" (Aruglua Records, 2009)
(Produced by Robert Kyle)
Californian vocalist Carol Bach-y-Rita sails through a swank set of jazz'n'bossa, delving into an intriguing repertoire that largely strays away from the big bossa classics... There's only one Tom Jobim standard, for one thing ("Corcovado," as fine a choice as any...) alongside material by Moacyr Santos, Gilberto Gil and Kleber Jorge, as well as an oldie by King Pleasure, a translated version of "You Don't Know What Love Is," and a delightful voice/flute duet on "Cidade Lagoa," which for me is an album highlight. She sings in both English and Portuguese; I prefer the Portuguese-language tracks, but it's all nice. Producer and tenor saxophonist Robert Kyle leads a small ensemble that provides concise, sympathetic backing...if you like artists such as Elaine Elias, Diana Krall, et. al., you'll probably enjoy this as well. Nice, classy stuff for the "smooth jazz" crowd.

Tutti Bae "Mosaico" (Trama, 2003)

Tutti Bae "Sensatez" (Dabliu, 2007)

Tutti Bae "Ginga" (2010)

Lourenco Baeta "Lourenco Baeta" (Continental, 1979) (LP)
(Produced by Cesare Benvenuti; Musical director: Dori Caymmi)
An admirably diverse album, with all-original material and a host of top-level MPB studio musicians playing on various tracks... The first couple of tracks are fairly unadorned acoustic folk-ish material, with a vocal chorus coming up behind Baeta and his guitar... Then, a few tracks in, a subtle forro accordion sneaks in, and by the end of Side One, a full-on, swank, jazz-tinged MPB arrangements kick in, reminiscent of Chico Buarque or Ivan Lins. You figure, oh this is where he's been headed all along, flip the album and get ready for more. The squeaky, Appalachian-style bluegrass breakdown that opens "A Ultima Diligencia" comes as a surprise, although the song soon settles into a mellow MPB vibe -- Side Two ends sedately, returning partly to the folkie beginning with "Feito Misterio," but now he's sounding all far-flung and cosmic, like the older Milton Nascimento albums. If you like classic 1970s MPB, you'll definitely want to check this record out!

Paulo Bagunca "...E A Tropa Maldita" (Continental, 1974) (LP)
(Produced by Ramalho Neto & Julio Nagib)
This spacey, kooky hippie-era relic features a lot of strident, frantic acoustic guitar strumming, a bit of loopy Moog and earnest, half-shouted vocals. Yeah, it's kind of cool in a crate-digging, folk-freak, obscuro way, but other than the archeological value, I didn't get much out of this one. The liner notes claim that the band, A Tropa Maldita, had a big influence on 1970's Brazilian rock, and I guess that might be true, but a lot of this sounds similar to what Jorge Ben and Gilberto Gil were doing -- with much more panache -- around the same time. This is just too loosely structured and meandering for my tastes, although it is a fairly groovy artifact from the fringes of Brazilian rock. Worth checking out, but it might not stick to your ribs.

Bahia Black "Ritual Beating System" (Island/Axiom, 1992)
An ambitious and stunningly realized album, bringing together the percussive talents of the Olodum collective, Carlinhos Brown and several North American jazz and funk artists such as Herbie Hancock, Bernie Worrell, Wayne Shorter, and Henry Threadgill. This marks one of the high points of Bill Laswell's career as a multi-directional producer, creating a blend of funk, jazz, avant-jazz, art-rock and Afro-Brazilian pop that is actually more successful than most Brazilian fusion projects. Challenging, but also highly listenable.

Baiano & Os Novos Caetanos "Baiano & Os Novos Caetanos, v.1" (CID, 1974) (LP)
This "band" -- really a front for comedic actor and part-time pop singer Arnaud Rodrigues -- was a satirical send-up of the psychedelic strivings of the Brazilian "tropicalia" scene, specifically of artists such as Os Mutantes, Os Novos Baianos and Caetano Veloso. In some ways it's funny, but it's hardly very subtle. It might be hard to get the joke, decades later and outside of hippie-era Brazil, but it still holds some historical and kitsch value. Personally, I prefer Rodrigues' more serious pop efforts recorded under his own name.

Baiano & Os Novos Caetanos "Baiano & Os Novos Caetanos, v.2" (1975) (LP)

Baiano & Os Novos Caetanos "A Volta" (1982) (LP)

Balanco Trio "Ritmo... Bossa... Balanco" (Imperial, 1965) (LP)
(Produced by Milton Miranda & Zoltan Merky)
A nice, light, piano-led bossa-jazz trio going through some bossa and samba standards, including songs by Edu Lobo, Carlos Lyra and Roberto Menescal, and others. There's thankfully little of the clattersome, frenetic pace of the "bossa trios" of the era, but also not a lot of spark or vitality to the performances. In some parts, there's an almost Vince Guaraldi-style cool jazz vibe, but these guys never swing that smoothly or soulfully. This isn't bad, it just isn't very distinctive or fresh. None of the artists are identified on the jacket: anyone know who they were?

Balanco Trio "Casa De Bamba" (Imperial, 1969) (LP)
Not much change in the approach here, although the repertoire has been updated to include a bunch of Jorge Ben songs, and one by Osvaldo Nunes... But despite the nods towards the ultra-hip, late-'60s samba-soul sound, this is pretty much the same light, mellow piano-bass-drums stuff as before. A little more elegance and panache, but basically more of the same, and considering the changes in Brazilian pop around this time, a little old-fashioned. Still no info on the artists, though... sorry!!

Norberto Baldauf "Ritmos Da Madrugada" (Odeon, 1955) (LP)
Another whiff of what the nightclub scene must have been like back in the '50s, this time with a slight regional flair. Baldauf leads a compact ensemble with a repertoire that's mostly old-school samba-cancao, but with a baiao-flavored accordion often taking the lead. More in the background is a lively percussionist playing some solid samba rhythms with great vigor, matched by some flashy, galloping piano... The first half of this short LP is a 12-minute "potpourri" medley; the other four tracks are of more standard length, and tend towards a more manic, uptempo feel. A little too hyper at times, but nice anyway.

Norberto Baldauf "Parole Ate 2nd Feira" (Philips, 1968) (LP)
A pseudo-groovy set of vintage Brazilian lounge music... Poppy, swinging, super-kitschy samba-nova-ish dance music, with a then-modern feel. This is easy listening, but with the prefab hipness of the Mancini era, with covers of various MPB hits, a Roberto Carlos song, and a toot-tootling, super-loungey rendition of the Beatles' "A Little Help From My Friends." It ain't great art, but it's an interesting contrast to Baldauf's early work. Includes some vocals as well... worth a spin!

Norberto Baldauf "Noite Do Lembra" (Continental, 1983) (LP)

Zeca Baleiro - see artist profile

Milton Banana - see artist profile

Banda Beijo - see artist profile

Banda Bel "O Rei Do Rio" (Tinitus, 1992)
(Produced by Antoine Midani)
The first of two albums by this short-lived band. This is early work by the artist called Leleo (aka the group's lead guitarist Leonardo Teixeira, who is joined by bassist Cacau Ferrari, lead singer Toni Garrido, and drummer Ricardo Imperatore.

Banda Bel "Sambadrome" (Tinitus, 1994)
(Produced by Antoine Midani)
The second (and final) album by this pop-reggae band, kicking off with their chart-topping hit, "Romario," which was dedicated to a popular futbol star named, um, Romario. Lead guitarist Laleo went on to his own solo career, releasing a few albums of his own, as did lead singer Toni Garrido.

Banda Black Rio - see artist profile

A Banda Do Canecao "A Banda Do Canecao" (CID, 1967) (LP)
The clompy sounds of an authentic Brazilian beer blast... Recorded live at a nightclub/beer garden, this captures a performance by the brass band A Banda Do Canecao plowing through a series of medleys, mixing Brazilian tunes with North American and other Latin American standards. The audience cheerfully choruses along in an early version of the "barzinho" karaoke singalongs, while the band, sounding like a German oompah group with a samba drummer, barrels along. Honestly, though? The performance is poorly recorded and also pretty monotonous... although the Banda made several records and has a place in '60s samba history, I really can't recommended this album.

Banda Eva - see artist profile

Banda Mantiqueira "Aldeia" (Pau Brasil/Blue Jackel, 1996)
A smooth Braz-jazz album, heavy on the brass section. This all-instrumental album takes a few nods at choro legend, Pixinguinha, as well as towards the smooth bossa nova sounds of the early '60s... This all by way of a peppy Doc Severinsen style latter-day big band style. This was a little too smooth for me, but it's not overly glitzy by any means, and may be something you'd like, if you're looking for something in a mellow jazz mode.

Banda Mantiqueira "Bixiga" (Blue Jackel/Pau Brasil, 2002)
Pretty cool! Anyone intrigued by the mix of Brazilian and big band motifs on Banda Mantiqueira's 1996 album, Aldeia, will be delighted by this latter-day gafieira outing, in which the swanky jazz elements are punched up and perfected. This is the kind of dynamic cross-cultural mix that Stan Kenton and his peers were searching for in their mid-'50s explorations of Cuban and Latin-American melodies... pretty engaging and seldom overplayed, and less mellow than earlier Mantiqueira recordings. Nice lingering hints of the Dixieland-ish choro style of dimly-remembered Brazilian artists such as Sinho and Pixinguinga. Includes radically reimagined arrangements of songs by Joao Bosco and old-school sambista, Cartola. Definitely worth checking out!

Banda Mantiqueira "Terra Amantiquira" (Maritaca, 2006)

Banda Mel - see artist profile

Banda Turmalina "Apelo A Igualidade" (Continental, 1988)
A fairly unremarkable pop-axe album, heavy on the New Wave-ish synthesizers, light on the percussion. The title track, which opens this album, is the most vigorous thing on here, sort of in the same general range as Olodum's softer, poppier recordings... The Afro-Brazilian drumming is almost enough to pull you in, but not quite. Guitarist Marcello Chamuska wrote about half the songs on here, while second guitar Joao Neto and lead singer Bino wrote several others. Trust me: this is pretty dorky, and you're not missing much.

O Bando "O Bando" (Polydor, 1969) (LP)
(Produced by Rogerio Duprat)
A welcome reissue of a lively "lost-classic" psychedelic rock album from Brazil's "tropicalia" era of the late-1960s/early-'70s... O Bando were a Sao Paulo band that nakedly emulated the better-known Os Mutantes, mixing clattersome pop-psychedelic rock with jazz, folk and indigenous Brazilian styles, then pushing their performances to furious crescendos. The likeness to Os Mutantes was hardly coincidental: tropicalia's avant-pop producer Rogerio Duprat helmed this project, and brought to it the same basic formula as he had used on the Mutantes records, and some Gal Costa albums of the same vintage. It's a bit shrill and driving, but if you are fascinated with that era and with the whole tropicalia scene, you'll definitely want to check this out. This was O Bando's only album; apparently they also released a single or two, and then went on to work elsewhere are backup musicians in the 1970s and beyond. (Reissued on Discos Mariposa.)

Baobas "Baobas" (Mocambo/Rozenblit, 1968) (LP)
A '60s mod/garage band with an album's worth of cover songs by US/UK acts such as the Kinks, Moody Blues, Doors, et al. The repertoire is kind of standard, but the band itself has a significant place in Brazilian rock history -- one sometimes-member was bassist Arnolpho Lima Filho, aka Liminha, who was later a member of 1970's Os Mutantes lineup, and became a prolific rock-pop producer in the '80s. I wish they'd sung in Portuguese rather than English, but I guess it's too late to do anything about it now...

Arnaldo Baptista - see solo discography and Os Mutantes discography

Cyro Baptista - see artist profile

Barao Vermelho - see artist profile

Barbatuques "Corpo Do Som" (MCD, 2003)

Barbatuques "Corpo Do Som - Ao Vivo" (MCD, 2003) (DVD)

Barbatuques "O Seguinte E Esse" (MCD, 2005)

Adoniran Barbosa - see artist profile

Beto Barbosa "Beto Barbosa" (Continental, 1987)
Before the lambada really took off, Barbosa was doing the same sort of material, only at halftime tempo. Sounds a lot like modern (synthy) Mexican ranchera music; these songs sound better than most -- they're listenable -- but as an album this is terribly, terribly monotonous. Barbosa has a bazillion other records, but really, jeez... who can be bothered??

Zelia Barbosa "Brazil: Songs Of Protest" (Le Chant Du Monde, 1968) (LP)
A personal favorite. Other than this one album of political songs recorded in France for the Le Chant du Monde label, I don't know of anything else this artist has done. It's a fun record, though, featuring protest songs written or popularized in response to the Brazilian military coup of 1964. Particularly catchy are renditions of Chico Buarque's "Pedro Pedreiro," "Opinao" and several other Ze Keti songs, as well as "Carcara" by Joao do Vale. Perhaps Barbosa is not the greatest vocalist ever, but I enjoy her forceful, robust approach -- sure, there are other versions of many of these songs (particularly those by Nara Leao) that may be more are compelling -- but this is still worth checking out. [Note: This album has been reissued several times, including editions on Monitor Records, and digital-era editions from Smithsonian-Folkways and Harmonia Mundi, which used the album title Sertaos E Favelas.

Carlos Barbosa-Lima "Dez Dedos Magicos Num Violao De Ouro" (1958) (LP)
The first album from acoustic guitarist Antonio Carlos Ribeiro Barbosa Lima (1944-2022) who emerged as a pre-teen prodigy in the late 1950s after meeting Luiz Bonfa and being introduced to classical composer-educator Isaias Savio, who became his mentor. (It should be noted that Barbosa-Lima recorded roughly fifty albums, so it may take a while to track down and catalog his work...

Carlos Barbosa-Lima "Concerto En Modo Frigio" (RGE, 1965) (LP)
An orchestral set, with Barbosa-Lima shining as the soloist, fronting an orchestra led by Maestro Diogo Pacheco. Side One features three compositions by Eduardo Grau, while the second side showcases pieces by Johann Sebastian Bach, Mozart, and one by Isaias Savio (1900-1977) an Uruguayan-born composer who is credited as one of the great popularizers of classical guitar after moving there in 1931. Savio was a particular favorite of Barbosa-Lima, as seen in the Brasil E Violao album, below...

Carlos Barbosa-Lima "Brasil E Violao" (Alvorada, 1979) (LP)
Another fine set of guitar music... Side One is dedicated to several compositions by Catullo da Paixao Cearense, including three co-written with others, while Side Two sweeps through a number of other composers, including two tracks by Isaias Savio.

Carlos Barbosa-Lima "Siboney" (Zoho, 2004)
Re-release of a 2001 album of Cuban music classics interlaced with various Brazilian oldies...

Carlos Barbosa-Lima "Carioca" (Zoho, 2006)
Braz-jazz with backing from from Duduka Da Fonseca, Nilson Matta and Danny Rivera...

Carlos Barbosa-Lima "O Boto" (Zoho, 1998/2007)
Guitarist Barbosa-Lima works through a diverse lineup of Handel, Jobim, Pujol and others... (Originally released in 1998 and reissued in 2007.)

A Barca Do Sol "A Barca Do Sol" (Continental, 1974) (LP)
A pioneering folk-jazz-classical fusion band, featuring the immensely talented cellist/arranger Jacques Morelenbaum near the start of his pop music career. The first album (re-released on a single CD along with the second) opens with a trio of stunning numbers, which blend flamenco guitar and NY-style salsa rhythms in with a heady mix of traditional Brazilian melodies and jazzy instrumental flourishes; the group sounds like a cross between the acoustically-based Quinteto Violado and wilder, more rock-oriented groups such as Novos Baianos. Interesting!

A Barca Do Sol "Durante O Verao" (Continental, 1976) (LP)
Sadly, the formula wears thin and by the second album, where they try on an even more experimental tone, becomes fairly irritating. These albums have a fascinating feel, but may ultimately be best seen as Morelenbaum's most energetic juvinelia. Still, since Morelenbaum later became one of Caetano Veloso's key collaborators and a major modern interpreter of Antonio Carlos Jobim, this disc may be worth checking out for any serious student of Brazilian avant-pop.

A Barca Do Sol "Sucessos" (1997)

Arrigo Barnabe - see artist profile

Junio Barreto "Junio Barreto" (Tratore, 2005)

Junio Barreto "Setembro" (Tratore, 2011)

Vicente Barreto "Ano Bom" (Warner-Continental, 1993)
(Produced by J. C. Costa Netto)
A disappointing album, with bland, poppy arrangements. Imitative of Gilberto Gil, but not Gil at his best. There's also a tint of Timbalada and other poppish/synthy axe bands. I enjoyed Barreto's later albums (see below) and they led me to pick up this disc, but I couldn't get into it. Not an album I need to come back to. Includes liner notes from his pal, Tom Ze, and a rendition of Ze's most well-known songs, "Hein," which Barreto co-wrote.

Vicente Barreto "Mao Direita" (Dabliu, 1996)
A lovely acoustic album, reminiscent of early Chico Buarque and Joao Bosco, but with a sprightliness that also reminds me of Cuba's Silvio Rodriguez. Nice stuff -- not a bum note or an irritating track on here. Guitarist Barreto has been a longtime collaborator of Ze's, ever since the early '70s, and can be considered co-architect of their distinctive sound. Tom pitches in on a few tracks, and many of the songs were co-written with Paulo Cesar Pinheiro. Recommended!

Vicente Barreto "E A Turma Chegando Pra Dancar" (Dabliu, 1999)
Wonderful! Silky, sensual, multi-layered gentle pop, along the lines of Arnaldo Antunes and Vinicius Cantuaria, with more than a slight hint of Jorge Ben's best stuff of the early '70s, and certainly with a nod towards Barreto's work with Ze. A relaxed, dreamy album with only a few misfires (such as the reggae-based "O Crague.") On the whole, I'd say this is record well worth checking out, and obviously one which the artist spent a fair chunk of time planning out and composing. Recommended!

Vincente Barreto "Noite Sem Fim" (Ouver, 2003)

Vincente Barreto "Vincente" (Ouver, 2008)
With Rafa Barreto...

Vincente Barreto "O Melhor De Vincente Barreto" (Dabliu, 2000)

Ary Barroso - see artist profile

Inezita Barroso - see artist profile

Marisa Barroso "Marisa" (CBS, 196--?) (LP)
With backing from trombonist Astor Silva and his band... Not sure of the date on this one, but it looks like early '60s, maybe '62-'63(?) with a mix of old-school ballads and some newer bossa nova tunes.

Mirzo Barroso "Mirzo" (RCA, 1965) (LP)
A schmaltzy, bombastic bossa-ballads set with contributions from bossa-jazz musicians such as percussionist Rubens Bassini, Copina (flute) and pianist Fats Elpidio on piano, with arrangements by Orlando Costa & Maestro Cipo, and Maestro Zaccarias at the helm as the album's musical director. One of those old-school, retro pop albums that persisted through the bossa nova era -- this didn't do much for me, and apparently it was Barroso's only album.

Vania Bastos - see artist profile

Batacoto "Batacoto" (Triloka, 1993)
Easy listening, smooth-jazz world music, Brazilian style. Not quite my cup of tea, but a stronger-than-usual offering for the genre... There are shades of Djavan, Gilberto Gil and Milton Nascimento in some of the songs, but they are all obscured by glossy pop-fusion production that I, personally, am not fond of... Ivan Lins is a guest performer, singing a duet with Dionne Warwick, of all people...

Batacoto "Samba Dos Ancestrais" (Velas, 1995)

Batatinha "Toalha Da Saudade" (Warner/Continental, 1976) (LP)
Old-school Bahian sambista Batatinha, a magnificent composer and gentle performer, sings a dozen of his best songs, with moving, richly emotional, mainly acoustic backing. The liner notes include a testimonial from Caetano Veloso, giving a sense of the high regard Batatinha is held in in his home town of Salvador. Lovely stuff, the kind of latter-day samba cancao that I adore.

Batatinha "Diplomacia" (EMI-Brasil, 1998)
A gorgeous album showcasing the songwriting and vocals of a samba old-timer -- the music is delicately sculpted, simple and strightforward. Batatinha's good-humored, old-man vocals are deliciously framed by straight-ahead acoustic arrangements. The nostalgic simplicity and grace of this album strongly recalls Joao Gilberto's 1981 album, Brasil. And, like that album, this one also features warm, reverential contributions by Maria Bethania, Gilberto Gil, Caetano Veloso, Chico Buarque and Jussara Silveira. This is well worth searching for, and not just for the high-power guest stars! Highly recommended.

Chico Batera "Ritmo" (Som Livre, 1979) (LP)
A manic mix of Santana-esque soul/rock/salsa and tightly crafted, Dazz Band-style funk... Drummer Chico Batera, a prolific studio session player, breaks out as a solo performer on this funky, uptempo set, which has some pretty tight grooves and is actually one of the best Brazilian funk records I've heard... Includes contributions from guest performers such as Joao Bosco, Dom Beto, Carlos Dafe and Raimundo Fagner. Yes, in some regards it can be irritating (the shrill guitar solos, in particular) but mostly it's a booty shaker. Definitely worth checking out.

Chico Batera "50 Anos De Baile-Salsa Com Alma" (BMG, 1998)

Chico Batera "Lume" (Biscoito Fino, 2000)
A mellow jazz set; other than the Portuguese-language vocal tunes, there isn't much on here to set it apart from similar material from Europe or North America. It's okay; not my cup of tea, though.

Chico Batera "50 Anos De Baile-Salsa Com Alma" (BMG, 1998)

Dyrcinha Batista "Serie Bis - Cantores Do Radio" (EMI-Brasil, 2000)
This disc opens on shaky ground, technically speaking, as the first track, her 1937 version of Lupicinio Rodrigues' "Nunca," warbles and buckles a bit under the weight of time. That's how you know, though, that this is a collection that includes actual radio performances, along with film appearances and numerous studio recordings. It's worth sticking it out, though, as Dyrcinha turns out to be one of the finest Depression-era singers in the Brazilian constellation. A confident vocalist with a warm, delicate trill and cheerful delivery that's reminiscent of Carmen Miranda, Batista also covered similar terrain, excelling in a brace of cheerful samba cancao tunes. This collection tracks her career through the late thirties into the wartime era and onto the early '50s... Highly recommended set by one of an early great whose best work is little-remembered nowadays.

Linda & Dircinha Batista "Linda E Dircinha Batista" (RCA-BMG, 2004)
A fine collection of two of the best "radio singers," sisters Linda and Dircinha Batista, recording solo (not as a duet) over the course of two decades (from 1941-1959). Each singer has her strengths, and each has a tremendous, appealing presence. In general, the earlier, more samba-oriented recordings are the best; as time went on, the arrangements and the overall approach became more florid and formulaic. But as a glimpse at the pre-bossa nova pop vocals era, this is a fine collection.

Bat Makumba "Bat Makumba" (Bat Makumba, 2003)
A super-impressive set of Brazilian/latin dance funk tunes, written and recorded by a trio out of San Francisco, CA. Although the band is known for live shows in which they do sizzling cover versions of '60s/'70s tropicalia oldies, this album is comprised entirely of original tunes written by the band... though you'd be hard pressed to tell this apart from contemporary Brazilian manguebeat artists such as Nacao Zumbi or Lenine. The spirits of Gilberto Gil, Jorge Ben and Os Mutantes hover supportively overhead as the Bat Makumba crew work their way through a dizzying array of rhythms, moods and styles, opening with the catchy forro-funk of "Trabalha" to the calming MPB balladry of "Resolucao", soft electronica of "Cantiga" and rowdy, good-time salsa rhythms of "Quiero (Cuba Rum, Cachaca Brasil)." On "Morro De Saudade (Enredo 415)," the band collaborates with the esteemed Velha Guarda da Mangueira, a group of musicians associated with Rio's famously buoyant Mangueira samba school. All in all, this disc by Bat Makumba is quite a feat: if any band from the EU stands a chance of having their music covered by someone back in Brasil, I imagine it would be these guys! Heck, they're even named after a Gilberto Gil song... what more could you want? Highly recommended.

Bat Makumba "Boteco" (Bat Makumba Records, 2008)
(Produced by Carl Remde & Bat Makumba)
This San Francisco-based dance band plays Brazilian music with a vengeance. The Brazilian rhythms are dense and the tempo furious -- an other tracks delve deep into American-style funk and even a bit of hippie-ish folk-jazz. Some of it's really groovy, reminding me of the wildly eclectic Brazilian manguebit of the 1990s, or the more modern hip-hop flavored "baile funk"of the last few years. Other tracks may try your patience a bit (the weirdo-funk song "Homo Sapiens," for example, is way too self-indulgent for me) but some of it's pretty cool. If you were drawn to Brazilian music for the swank harmonies and mellow elegance of classic bossa nova and MPB, this world-beat blast will be a new sound for you; depending on your temperament and taste, it may be either exasperating or exhilarating... Honestly, I found it a little exhausting. Still, I suspect they are pretty fun live.

Os Batuqueiros "Os Batuqueiros" (RCA Camden, 1976) (LP)

Toniquinho Batuqueiro "Memoria Do Samba Paulista" (Tratore, 2009)

The Beat Boys "Beat Boys" (RCA-Brazil/Lion Productions, 1968)
Although they were actually from Argentina, the Beat Boys made their names on the 1960s Brazilian rock scene, backing the great innovators of the psychedelic-oriented tropicalia scene -- Gilberto Gil and Caetano Veloso -- as they embraced electrified, American-style rock music. Along with bands such as Roberto Carlos' RC7 and the more notorious Os Mutantes, the Beat Boys were a go-to band if you wanted a hard-edged, solid garage-psych rock backing, and they appeared anonymously on several key tropicalia recordings. This is a reissue (with bonus tracks) of their own full-length release from 1968... You might read elsewhere how this disc is some kind of mind-blowing, hard-psych acid rock Rosetta stone; I think that's kind of an exaggeration... What this is, though, is an unusually cohesive Brazilian garage rock record by a band that was more professional-sounding and grittier than most of the other groups exploring the same music at the time. In the '60s, Brazil didn't have much history with greasy, grimy, longhaired rock music, and there wasn't a big back bench for them to draw on, so a band like The Beat Boys stands out at the front of the pack. If you want to hear a prime example of Brazilian "beat" music, with stylistic debts to melodically oriented groups such as the Beatles and the Standells (and maybe the Seeds, at the freakier end of their spectrum...) this is an album worth tracking down. Some fun songs, too!

Bebeto - see artist profile

Bebeto "Bebeto" (Whatmusic, 2005)
(Produced by Helcio Milito)
A lost album from Adalberto Castilho, aka Bebeto, the bassist for the bossa-jazz band, Tamba Trio. (Not to be confused with the samba-funk singer-songwriter Bebeto, whose records are listed above...) Although this is officially a non-Tamba "solo" album, bandmates Helcio Milito and Luiz Eca are also on board, with Milito producing and playing drums, and Eca performing on several cuts. Laercio de Freitas also plays piano, and is the arranger for much of the album. (See also: Tamba Trio, Luiz Eca.)

Bebeto (Castilho) "Amendoeira" (Biscoito Fino, 2006)

Gino Bechi "Volume 1" (Revivendo, 2005)

Gino Bechi "Volume 2" (Revivendo, 2005)

Bedeu "Africa No Fundo Do Quintal" (Copacabana, 1985) (LP)
(Produced by Antonio Carlos De Oliveira & Luiz Mocarzel)
Sleek, poppy, post-pagode samba, mixing the slower soul-MPB of artists like Luiz Melodia with the funkier party samba-rock sound of Jorge Ben, Bebeto and others. Singer-guitarist Jorge Moacir da Silva (aka Bedeu) was a popular songwriter in the '70s samba scene and co-founded the samba-rock band Pau Brasil, then went solo in the early '80s... He co-wrote the 1982 hit, "Guerreiro" with samba-soul star Bebeto, and his own version is included here as well. On this album he had an Afro-centrist emphasis, including songs like "Africa Quintal" and the anthemic "Zimbabwe." This is soulful, better-than-average, though still middle-of-the-road material, similar to pop-oriented samba artists such as Agepe -- pleasant and easy to listen to, though perhaps not always electrifying. It grows on you, though -- classic mellow party music.

Iara Behs "Ernesto Nazareth: Tangos, Waltzes And Polkas" (Naxos Music, 2005)
A yummy, majestic recital of many of composer Ernesto Nazareth's classic pieces. Solo pianist Iara Behs nimbly captures the bounce and lilt of Nazareth's work, and infuses it with the right warmth and humor as well. A really lovely record - I could listen to this stuff for ages!

Belchior - see artist discography

Paulo Bellinati "The Guitar Works Of Garoto" (GSP, 1991)
This was the breakthrough album for acoustic guitarist Paulo Bellinati, a richly-textured tribute to samba-choro legend Anibal Augusto Sardinha (aka Garoto), one of the great pioneers of Brazilian guitar music.

Paulo Bellinati "Guitares Du Bresil" (GHS, 1991)

Paulo Bellinati "Serenata: Choros And Waltzes Of Brazil" (GSP, 1993)

Paulo Bellinati "Lira Brasileira" (GSP, 1997)

Paulo Bellinati & Monica Salmaso "Afro-Sambas" (GSP, 1997)

Paulo Bellinati & Harvey Wainapel "New Choros Of Brazil" (Acoustic Music, 2004)

Paulo Bellinati & Weber Lopes "Virado" (2009)

Paulo Bellinati "A Felicidade" (GSP, 2011)

Bil Bell "Rosa Morena: Sambas Que Nao Se Esquece" (Tropicana, 1970) (LP)
This appears to be a reissue -- under a different name -- of the Os Sax Sambistas album, Sax Sambando, originally on the Plaza label. It's a fun, perky set of easy listening instrumentals, apparently led by fabled session saxophonist Moacyr Silva working anonymously -- for whatever reason -- as part of this made-up studio band. Includes covers of many bossa nova hits and samba-cancao classics such as "Teleco-Teco #2," "Desafinado," "Meditacao," and "Chega De Saudade." The hasty production style actually gives this album a distinctive sound -- it's a little bouncier and less languid than a many Brazilian lounge albums of the 1950s and '60s. In addition to the horn arrangements, this album prominently spotlights the guitar-vibrophone pairing of Waltel Branco and Ti�o Marinho, a technique echoed on Branco's albums of the same era. Apparently batucada percussionist Milton ("Mestre") Marcal is also part of this band, at least on this album. Fun, lightweight stuff!

Jorge Ben / Jorge Benjor - see artist discography

Bendego - see artist discography

Norma Bengell "Ooooooh! Norma" (Odeon, 1959) (LP)
I was actually surprised by how enjoyable this album was, given its obvious kitsch trappings... Brazilian bombshell Norma Benguell was apparently a Brazilian Marilyn Monroe knock-off, with piled, blonde-ish hair, a breathy voice and legs up to here. Bridgette Bardot might be an appropriate reference point, too, as this disc also has a bit of the French chanson-style vocal style as well (she doesn't sing in French, though, it's just that the vibe is similar...) According to writer Ruy Castro, in his excellent book, Bossa Nova, Benguell's suggestive look prompted a boycott by the Catholic Church, which of course made her a celebrity at the time... This was also significant because this disc has some of the earliest cover versions of early bossa nova tunes by Joao Gilberto and Tom Jobim, and the ensuing scandal helped boost their visibility as well. The arrangements, by the ubiquitous Maestro Gaya, are actually pretty good, certainly not cheesy, and Benguell is adequate as a "girl" vocalist. It's definitely very campy when she sings a few American standards in English ("That Old Black Magic," "Sunny Side Of The Street," etc.) but then again, this is the sort of thing that the loungecore crowd lives and dies for. If you're drawn to that sort of thing, this disc is definitely worth tracking down. Also includes a couple of early Jobim songs.

Norma Bengell "Norma Canta Mulheres" (Elenco, 1977) (LP)
Film star Norma Bengell returns to the recording studio for a tribute to female Brazilian composers, covering songs by Sueli Costa, Dolores Duran, Chiquinha Gonzaga, Joyce, Dona Ivone Lara, Rita Lee, Maysa and others... It's actually a rather nice album... A confident performer, Bengell is relaxed and unhurried, comfortable in her role as chanteuse, and backed by an understated all-star band that includes Rosinha de Valenca, Ed Maciel, Jacques Morelenbaum, Sivuca and others. Not mindblowing, but completely solid and credible. A few disco-y touches... but that's to be expected, back in '77.

Wilma Bentivegna "As Mais Belas Cancoes De Amor" (Continental, 1968) (LP)
Love ballads from Brazil and beyond, mixing bossa standards from the repertoires of Vinicius deMoraes, Delores Duran and Tito Madi with standards by Cole Porter, Harry Warren, Victor Young, et. al. It's more of a pop-vocals/radio singer holdover, but she has a jovem guarda youthfulness, if not an actual rock'n'roll sensibility. The arrangements are corny, but sweet, and this was certainly one of Bentivegna's stronger efforts. Worth a spin.

Wilma Bentivegna "Hino Ao Amor" (Revivendo, 2005)

Irmaos Bertussi "Sangue De Gaucho" (RCA-Camden, 1972) (LP)
Classic "gaucho," or cowboy, music by a brother duo from Rio Grande do Sul, Brazil's southernmost state, near the borders with Paraguay and Uruguay. The all-acoustic music is simple and pleasant, with strong stylistic similarities to Argentine folk music -- plaintive ballads sung to brisk, bright acoustic guitar. Brothers Honeyde and Adelar Bertussi stick to a sound that is softer and more melodic than the more piercing rural styles of the North, and though this twelve-song collection felt all-too short, it was quite pleasant to listen to... The Bertussi brothers were foundational to the modern gaucho genre: Honeyde was a prolific songwriter who began performing professionally in 1942, forming the Irmaos Bertussi group in 1945 and recording 78s and LPs for decades to come. I'm not sure what vintage these recordings are from... The Camden series is often reissue material, but this doesn't have their biggest hits on it and also the recording quality here sounds pretty modern, so I'm guessing these really were from the early 1970s. At any rate, it's a nice album, though maybe a little off the beaten track for many Brazilian music fans.

Irmaos Bertussi "40 Anos Ontem Hoje E Sempre" (ACIT, 1994)

Irmaos Bertussi "Os Grandes Sucessos Dos Irmaos Bertussi" (RCA, 2000)

Reginaldo Bessa "Amor En Bossa Nova" (1962) (LP)

Reginaldo Bessa "Passageiro Do Vento" (MAC, 1978) (LP)

Reginaldo Bessa "Outro Tempo, Outro Lugar" (MAC, 1981) (LP)

Bet.e & Stef "Jazz / Bossa Nova" (Bet.e & Stef Records, 1998)
Bet.e & Stef "Day By Day" (Bet.e & Stef/Universal, 2002)
This Canadian duo from Montreal mixes a love of Brazilian bossa nova standards with a more modern taste for soul stylings and jazzy vocals -- a perfect mix for the acid jazz/club kid crowd. On these two self-released records, Bet.e & Stef's Brazilianness really gels by the second album, where a more subtle touch, and a firmer sense of their production style comes to the fore. Overall, their soul jazz tendencies isn't really my cup of tea, but the acoustic bossa material can be quite lovely. For the right listener, these Quebecois crooners might be the perfect package!

Bet.e & Stef "Wish You Well" (EMI-Toshiba, 2004)

Maria Bethania - see artist discography

Betinho "Serie Bis: Jovem Guarda" (EMI, 2000)
Although he was one of the earliest Brazilian jovem guarda rockers (with one song, "Enrolando O Rock," apparently dating back to 1954), Betinho was hardly one of the most vigorous artists working in the style... His approach was pretty strictly novelty-oriented, with songs filled with sound effects like roosters crowing, etc., and it didn't take long for Betinho to abandon backbeats altogether... Most of the material in this too-generous 2-CD set is actually soft pop vocals or novelty/lounge instrumentals... A few moments of fun, but overall pretty marginal.

Don Beto "Nossa Imaginacao" (Som Livre, 1978) (LP)

Ricardo Bezerra "Maraponga" (Epic Records, 1978) (LP)
(Produced by Ricardo Bezerra, Raimundo Fagner & Hermeto Pascoal)
Blech. Noodly Northeastern MPB/jazz with a particularly flowery feel. There are gentle ululations, ala Milton Nascimento, and soft-jazz passages galore. A ton of Braz-jazz talent as well: Hermeto Pascoal is credited with the arrangements, and performs on most of the tracks; Raimundo Fagner sings harmony on several tracks, and several flautists -- Nivaldo Ornellas, Mauro Senise, etc. -- play together on some of the more sugary songs. Whatever. This is all waaaaaay too gooey for me, although I suppose for fans of Nascimento's work (or Fagner's) this could be a real find.

Cido Bianchi "Show De Orgao: O Mais Belos Temas Do Cinema E TV" (Farroupilha, 1965) (LP)
(Produced by Rogerio Gauss & Os Farroupilhas)
A solo album by organist Aparecido (Cido) Bianchi, who is perhaps best known as a member of the jazz-bossa Jongo Trio. This all-instrumental album of movie themes is pretty sedate, dull even, with modest accompaniment and lots and lots of high-pitched organ work. Not really my cup of tea, but folks who are more into "easy listening" and soundtrack music in particular might find something to celebrate here. Nothing particularly "Brazilian," though: he does cover "Manha De Carnaval," from Black Orpheus, but it's just as bloodless as the rest of the record. No need to go out of your way to track this one down. Really.

Cido Bianchi "Cido Bianchi" (Som Da Gente, 1985) (LP)

BiD "Bambas & Biritas, v.1" (MCD/Soulcity, 2005)
Featuring a veritable who's-who of Brazilian hip-hop'n'soul, both old and new, this is a fairly sophisticated, mellow set, with a funky soul-fusion feel. Eduardo BiD is the main artist, playing host to an impressive cast of Black Rio samba-soul elders and contemporary hip-hoppers... Carlos Dafe, Seu Jorge, Marku Ribas and Elza Soares are among the big-name guests... which is kinda cool, although the now-over-the-hill Soares brings things to a painful, grinding halt when she croaks her way through an extended solo on "Mandinguera." (I know she's lauded as a living legend and all, but Ella Fitzgerald she ain't...) This isn't really my cup of tea, but it is one of the finer contemporary albums of its kind, and it thankfully forsakes the louder, more confrontational rap attacks of groups such as Afro-Reggae or the irritating techno-bleats of the "funk carioca" crowd. So, for folks looking for a low-key middle ground to help them explore the booming Brazilian hip-hop scene, this is a pretty cool record to start your explorations. Worth checking out. (Available through www.soulcity.com.br. )

Bide Ou Balde "Bide Ou Balde" (Abril, 2002)

Bide Ou Balde "E Preciso Dar Vazao Aos Sentimentos" (L & C Editoras, 2006)
Generic, fill-in-the-blanks, New Wave-tinged, power-poppy alterna-rock... Atypical for Brazilian pop, but also kind of fun, like a prefab mix of the Dickies and the B-52s. This disc is actually fairly engaging, right up until the handful of remix tunes that close the album... But for folks looking to close up the indie-rock vacuum in Brazil's rock world, this is certainly worth checking out. Not the greatest, but it's interesting to know it's there.

Victor Biglione & Marcos Valle "Live In Montreal" (Rob Digital, 2000)