Time: 39:00
Size: 89.3 MB
Styles: Bossa Nova, Latin jazz
Year: 2014
Art: Front
[2:28] 1. Agua De Beber
[1:45] 2. One Note Samba Spanish Flea
[2:22] 3. Roda
[1:51] 4. Bim Bom
[3:13] 5. Berimbau
[2:37] 6. The Joker
[3:03] 7. Day Tripper
[3:14] 8. Chove Chuva
[3:03] 9. Moanin'
[2:53] 10. Upa, Neguinho
[1:52] 11. Gente
[1:57] 12. Só Danço Samba
[2:15] 13. Wave
[3:12] 14. Laia Ladaia (Reza)
[3:08] 15. Lapinha
Mendes was born on February 11, 1941, and raised in Niteroi, Brazil, the son of a physician. He studied music at a conservatory and harbored hopes of becoming a classical pianist.
With his band Brazil ‘66, bandleader Sergio Mendes soared to the top of the popular music charts in the United States during the mid-1960s with covers of songs by Paul McCartney, Paul Simon, Burt Bacharach, and Jimmy Webb. The songs featured a rhythmic Latin percussion foundation that percolated beneath the soaring crystalline vocal harmonies of Lani Hall and Janis Hansen (and later Hall and Karen Phillips). The arrangements, first by Mendes and later by Dave Grusin, included ethereal woodwinds, string sections, and keyboards that combined to create a style blending Brazilian bossa nova and American and British pop into a hybrid that was tremendously successful. Dismissed by some critics as easy listening, it was applauded by others for its rhythmic complexity, high production values, and intriguing vocals. After the heyday of the 1960s, Mendes attempted several updated versions of Brazil ‘66, including Brazil 77, and Brazil ‘99, had a major hit single in 1983 with “Never Let You Go,” and pursued his jazz leanings.
With his band Brazil ‘66, bandleader Sergio Mendes soared to the top of the popular music charts in the United States during the mid-1960s with covers of songs by Paul McCartney, Paul Simon, Burt Bacharach, and Jimmy Webb. The songs featured a rhythmic Latin percussion foundation that percolated beneath the soaring crystalline vocal harmonies of Lani Hall and Janis Hansen (and later Hall and Karen Phillips). The arrangements, first by Mendes and later by Dave Grusin, included ethereal woodwinds, string sections, and keyboards that combined to create a style blending Brazilian bossa nova and American and British pop into a hybrid that was tremendously successful. Dismissed by some critics as easy listening, it was applauded by others for its rhythmic complexity, high production values, and intriguing vocals. After the heyday of the 1960s, Mendes attempted several updated versions of Brazil ‘66, including Brazil 77, and Brazil ‘99, had a major hit single in 1983 with “Never Let You Go,” and pursued his jazz leanings.
The Collection
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