Mitlon + esperanza [2024]

Published on PostGenre

esperanza spalding has made no secret of her love for Milton Nascimento’s music. Her sophomore album features a spirited rendition of Nascimento’s “Ponta de Areia” - early evidence of her strong affinity with the Brazilian legend’s compositions. After having heard Nascimento and spalding on Milton + esperanza (Concord, 2024), listening to spalding’s “Ponta de Areia” makes the album feel like something that was destined to happen. Making an album with Nascimento is a dream come true for spalding, and with how impressive Milton + esperanza is, it definitely sounds like one. 

Alaíde Costa - O Que Meus Calos Dizem Sobre Mim [2022]

Published on Sounds and Colours

Alaíde Costa has been singing bossa nova and samba tunes for a long time and is extremely good at it. The Brazilian's recording career dates back to the late 50s, and the slight rasp that age has given her voice works in its favor throughout O Que Meus Calos Dizem Sobre Mim. The majority of the album, which has production courtesy of Marcus Preto and Emcidia with the musical direction of Pupillo, is composed of songs written specifically for Costa. The fantastic horn and woodwind arrangements stand out in particular. Thanks to Costa's gorgeous singing, this album would still be successful in a more sparse format, and the elegance of the arrangements greatly enhances the material.

Caetano Veloso - Transa [1972]

Except for parts of "Soy Loco Por Tí América", Caetano Veloso's self-titled debut album was entirely sung in Portuguese. It's an exceptional record, full of strings, horns, and a distinct, somewhat quirky atmosphere that is very representative of the Tropicália sound of the sixties. Transa has Veloso leaving much of this past style behind, opting for a much less orchestral presentation and much more English lyrics. The strings, horns, and Tropicália psychedelia are gone, replaced by a relatively traditional band: acoustic/electric guitar, bass, and percussion.

Marcos Valle - Viola Enluarada [1968]

What makes Viola Enluarada stand out in the Marcos Valle discography is that his sound is mostly devoid of the joy that typified past releases. There are occasional signs of that signature sunny Brazilian happiness ("Viagem"), however, Viola Enluarada is full of lyrical and musical melancholy. It's an excellent recording with fantastic arrangements that feature great use of piano and occasional participation from woodwinds. Viola Enluarada is a fine choice for Valle's best album, but those who were drawn to his work off the strength of something like the lighthearted "Samba de verão" may be a bit surprised by things like "Eu". "Eu" has Valle and a guitar in an extremely somber settling. The musician is alone in his room, failing to distract himself from thinking about lost love. "Homen do Meu Mundo" is another downtrodden number in which he laments on how the world is plagued with war and sadness. While things are generally quite mellow, early in the album Valle and his then-wife Ana Maria Valle both shine over the rapid piano lines of the addictive "Próton, elétron, neutron". Clocking in at just thirty-six minutes with nothing but great tracks, Viola Enluarada is the peak of the more introspective side of Valle's songwriting.

Marcos Valle - Previsão do tempo [1973]

Arguably the best album in a stellar catalog, Previsão do Tempo is a key MPB ("Música Popular Brasilera") record of the seventies. By the time Marcos Valle released this album, he was already ten years deep into his career, having released an impressive bossa nova debut in 1963 (Samba Demais). Valle eventually started to move away from the more pure bossa nova of Samba Demais and Previsão do Tempo is the crown jewel of this departure. As can be heard towards the end of one of Valle's most beautiful songs, "De Repente, Moça Flor", keys often give the album a slightly psychedelic feel. On the catchy "Mentira", his embrace of funky guitar licks and groovy keys yields great results. Emotionally Previsão do Tempo has a nice range, containing playful moments like "Nem Paletó, Nem Gravata" and somber atmospheres like that of "Samba Fatal". Opening with the brilliantly political and melodically strong "Flamengo Até Morrer", Previsão do Tempo is an excellent album from front to back.

Elis Regina & Antônio Carlos Jobim - Elis & Tom [1974]

The combination of Elis Regina and Antonio Carlos Jobim really should have lasted for more than one album, because it worked out perfectly. Elis & Tom is arguably the best album of either artists' discography. Every song of Elis & Tom is an exemplary version of classic Jobim compositions. Regina's voice is gorgeous and emotionally compelling. It's obvious why her irresistibly bubbly recording of "Águas de Março" with Jobim is so well known, but the dynamic rendition of "Corcovado" is just as impressive. The melancholic strings and soothing bossa nova guitar of "Corcovado" are excellent. Jobim, who can be heard on vocals, guitar, and piano, outdid himself with the arrangements. The record never does too much, there is a tasteful amount of space and simplicity to let Regina's divine voice shine. Elis & Tom has a perfect balance between happier, more upbeat tunes like "Fotografia" or "Brigas, nunca mais" and more mellow string or piano focused numbers like "Soneto da separação" and the stunningly beautiful "Modinha". No bossa nova or Brazilian music collection is complete without Elis & Tom, a record that set a ridiculously high standard for the many artists who would eventually record their own versions of these stellar Jobim tunes.

Novos Baianos - Acabou Chorare [1972]

Happiness radiates from Acabou Chorare on a level that is extremely hard to match or replicate. Every single song, even the relatively slow title track, feels unmistakably light-hearted and fun. The album has so much energy that it would be hard to believe that the band did not have a fantastic time recording it. The guitar-work is top-notch, with the majority of the tunes featuring catchy rhythms and great acoustic or electric solos. Moraes Moreira and Paulinho Boca de Cantor are both great singers, but Baby Consuelo is somehow even more infectious as she takes lead on both "Tindo Trincando" and "A Menina Dança". It does not matter if you speak Portuguese or not - you need to hear this classic.

Ana Frango Elétrico - Little Electric Chicken Heart [2019]

It's hard not to smile while listening to Little Electric Chicken Heart. Ana Fainguelernt, who sings under the moniker Ana Frango Elétrico, has created a charming album that emits sunshine in every track. When listening to her playful singing cadence and colorful instrumentation, one may be reminded of a young Tropicália-era Gal Costa. This is not to say that there is a strong vocal similarity between the two or that Fainguelert is simply mining the past for her sound. However, Little Electric Chicken Heart is a clear descendant of Brazilian legends such as Costa and Os Mutantes' Rita Lee. The sound is different, but the energy, especially the joy, is familiar.

Juçara Marçal - Encarnado [2014]

How one takes to the most jarring and immediately apparent feature of Encarnado, the solo debut of Juçara Marçal, will likely be the single most determinative factor in whether the listener enjoys it or not. This is of course, the complete lack of a rhythm section throughout the entire LP - 41 minutes with no drums or bass. This is an aspect of this record that, on it's own, is quite odd, but when you factor in that this is an album coming out of Brazil - a country that is known for it's danceable samba and breezy bossa nova rhythms, it makes the absence of a rhythm section even more glaringly apparent. Despite the fact that at times, the minimalism can give the album quite a skeletal feel, Marçal and the band she has enlisted to accompany her beautiful singing can do so much - sound so grand - with so little, that the listener could be forgiven for forgetting that at it's core, Encarnado is a brilliant and experimental conversation between, in most cases two or three - at times four, instrumentalists on each track and one vocalist. Although there are things like the bleeps and bloops on "E o Quico?" and Marçal herself playing kalimba on the sweet "Canção pra ninar Oxum", more than anything, a large bulk of the album's sound consists of two guitars.