Latin | Brazil 364 Items

Mr Bongo is proud to present an official reissue of Zé Rodrix E A Agência De Mágicos ‘O Esquadrão Da Morte’. Written, arranged and composed by the genius of Zé Rodrix and performed by his band 'Agência de Mágicos’, this Brazilian library funk beauty is the soundtrack to Carlos Imperial's 1975 film of the same title. Echoing European soundtrack maestros such as Roy Budd and Ennio Morricone, but with a Brazilian swagger, Zé Rodrix's score is a sublime gem that needs rediscovery.

Rich in 70's soundtrack cool, the score is packed with orchestrated jazz, chase scene-funk, breaks, psychedelic freakouts and plenty of drama. The loose and quirky break-beat jazz-funk of 'Assalto' feels almost tailor-made for today's hip-hop production aesthetic. The opening drum break of 'Esconderijo' is a sampler’s dream and has already been reinterpreted by the Turkish Rapper Anıl Piyancı, as well as Brazil's DJ Caique.

Carlos Imperial was a jack of all trades. As a songwriter and music producer, he created a highly impressive back catalogue. It includes working with or writing songs for Tim Maia, Elza Soares, Brigitte Bardot, and Wilson Simonal. He also co-wrote the rare cult Brazilian 7" compacto 'Lindo Sonho Delirante (L. S. D') by Fábio. Carlos Imperial wrote liner notes and was an actor, filmmaker, television presenter, and media figure. His film 'O Esquadrão da Morte' is a violent heist movie starring Beto Bandeira, Claire Chevalier, and Baby Conceicao; in the vein of exploitation films and gritty, raw B-Movie cinema of the day. Both the film and album share striking, macabre artwork by artist Benicio.

The instrumentalist, arranger, and singer-songwriter Zé Rodrix has a musical achievements list that is also one to admire. He’s worked with the cream of Brazilian music, having written songs covered by the greats, including Quarteto Em Cy, Ronald Mesquita, Elis Regina, Karma, and Célia, to name just a few. His written arrangements have graced the music of Luli Lucinha E O Bando and Helio Matheus. He was a member of the iconic group Som Imaginário and played piano and synthesizer on Secos & Molhado's classic 1973 album.

We are super pleased to make this dusty treasure available again. It is a wonderful soundtrack score that more than holds its own with its European and American counterparts of the era.

Imagine for a moment that Arthur Russel had learned to speak Brazilian and then moved to Italy to produce an Italo-Disco single back in 1984. There's a good chance it would sound like the Dub version of the B side on this record (Remixed by Bob One). A percussive foundation channeling Latin Freestyle beats sets the groundwork for the chill sunset vibed melody to pleasantly unfold intertwined with the alluring Brazilian lyrics. The recording engineering on this production is clearly at a higher standard (than the usual neighborhood italo disco studio from back in the day) with some of the techniques at play giving it a very balanced and sophisticated sound for its time. The meticulous remastering this re-issue underwent allow for a generous low end with crystal clear mid range – game changing on any well calibrated dance floor sound system.

Another legendary Lateef session cut in 1960 for the New Jazz imprint. The co-leader - bassist Doug Watkins - died tragically in a car accident in 1962 at the age of 27. However, prior to his early demise, he recorded dozens of wonderful sessions with some of the greatest jazzmen of his time, among them Sonny Rollins, Art Blakey’s Jazz Messengers and the Horace Silver Quintet. Imagination ! marked his second and final album as a leader, and features Watkins on cello instead of bass. The use of cello - and oboe on some numbers - makes the date stand out a bit from the usual hard bop sessions of the period and straight-ahead jazz fans will want to get this.

The 1974 debut album Ojinga’s Own and single Basa Bongo/Black Pepper by Guyanese Afro-Folk band The Yoruba Singers has been remastered for vinyl and digital. The Yoruba Singers formed in Georgetown, Guyana in 1971. Despite their name they were not from Nigeria, but identified strongly with the area from which so many of the African diaspora in Guyana and neighbouring regions were originally descended. The group started adapting Guyanese traditional folk music as well as writing their own - blending a mixture of protest, social commentary, blues, and genres inspired by the times. Beginning with about 12 people sharing vocal duties, most of the early repertoire was inspired by folk songs that started life on plantations or in religious settings accompanied by a few sparse musical instruments. Integral to the Yoruba Singers’ sound are echoes of Obeah traditions which are very closely related to the Santería religion of Cuba and the Orisha and Shango traditions of Trinidad and Tobago. Calypso and steelband culture from nearby Trinidad and Tobago was to some extent part of the musical DNA of the group, but they were naturally also influenced by the massive volume of rocksteady and roots-reggae coming from Jamaica.

Guyana folk music reinterpreted and infused with Afroroots and culture, reissued on vinyl for the first time. A year after their debut album ‘Ojinga’s Own’, the Yoruba Singers from Guyana released the singles ‘Black Pepper’ and ‘Basa Bongo’. These two songs were recorded in Barbados and released on the Green Shrimp label and became extremely popular throughout the Caribbean and South America. The music also became an integral part of the very beginnings of what was later to become the Champeta Criolla sound in the Caribbean coast of Colombia.

New Parisian label, Disques Messager, presents its new and second release. As its name suggests, the label has a simple leitmotiv: to place itself among the best messengers for rarities and sought-after gems of the international rare groove. A mission which began like fire last year with a 7inch reissue release including two Brazilian Disco bangers by Cristina Camargo. For this second efforts, the label doesn’t deviate from the artistic and quality path taken, however also making quite a U-turn, this time presenting 2 underrated kind of musical UFO, both from the French scene. Not many info can be found about Yoanson & Karamie, two young artists from the French African diaspora, who randomly met with Nessim Saroussi and his label Ness Music in the late 80s. Nessim himself doesn’t remind much about the 2 guys, except that he quickly offered to produce them, which resulted in their only EP release, Kalimba (1988). Part of this EP, “African Leaders” is a stunning track melting Afro-Tropical percussions, Disco bass, Early-Electro beats and Leftfield vocals in a way that could remind of Doctor L or Arthur Russel productions. On the contrary, Philippe de Lacroix-Herpin (aka Prof Jah Pinpin) has a long musical career started in the mid-70s and became a renowned saxophonist playing and recording for many famous French acts such as Jean-Jacques Goldman, Alain Chamfort, FFF, or even rap band NTM. In 1994, he moved definitely to the Reunion Island where he quickly launched the Prof Jah Pinpin 4tet, in his own words willing to play “free/funk/jazz/rock/tropical” music… Quite a vast and large musical tag, but which immediately make sense when listening to the surprising “The Final Bird” track. Only released as CD in 1996, this instrumental production has indeed a unique sound and flavor mixing all kinds of elements together (even samples of Weather Report). Well as you can understand, words are not the best way to describe these 2 hidden treasures, so we strongly recommend the spinning to make your own view!

Wilfred Trevor Woodley aka Woods (1934 - 2010) is certainly one of the best kept secrets in Caribbean jazz. A pianist composer from Point Fortin, Trinidad & Tobago, Woods was a fascinating man who lived an incredible life traveling to more than 70 countries. Even though he composed hundreds of songs he had never released an official album. Woods was a man who lived a fearless life. Even when faced with life's adversities he dealt with them with such courage and calmness that all who knew him could only remember him with admiration and respect. In july 1990 he was involved in an accident where a truck crushed one os his legs. facing the doctors, he replied with aplomb: "As long as I can play the pinao, everything is fine". This EP is the first project of a series to pay a tribute to his legend and to keep his music alive.

A wild and funky collection of Afro grooves that was ahead of its time in 1977 and has become a collector's item in recent years, especially due to the growing international interest in Colombian picó sound system culture. Fruko and his studio bands Wganda Kenya and Kammpala Grupo treat us to a diverse set of African and Caribbean styles, laced with crazy synths, psychedelic guitar and infectious pan-African polyrhythms.First time reissue. 180g vinyl. By the time Discos Fuentes released the album "Wganda Kenya Kammpala Grupo" in 1977, Wganda Kenya's discography was expanding with many 45 singles and appearances in various artists collections. The group's 1975 debut record "Africa 5.000" was a full length LP in the U.S. and a various artists compilation in Colombia, which was followed by the self-titled long player the following year. However, Kammpala Grupo, which shared the album's title and was credited to three songs on the record, had never appeared before, yet was basically the same studio group as Wganda Kenya. Most likely the creation of this short-lived studio band was just a ploy by the label to make it seem like there were more groups playing the type of exotic afro tracks favored by the picotero DJs of Colombia's Caribbean coast (especially in Barranquilla and Cartagena).The record kicks off with the joyful 'El Gallo Africano' which features exquisite interplay between Sepúlveda's highlife style guitar and an authentic-sounding African style saxophone, perhaps played by Carlos Piña. In reality it was 'Go Call Police Chief' by prolific Nigerian highlife guitarist Chief Oliver Sunday Akanite, aka Oliver De Coque. Next up is Kammpala Grupo's 'La Yuca Rayá' ('Grated Yuca'), written by Isaac Villanueva in a style he termed son haitiano which sounds much more like Zimbabwe Shona mbira music. Wganda Kenya's 'Caimito' (star apple, a type of tropical fruit), on the other hand, is actually a cover of a relatively well-known Haitian merengue song.Kammpala Grupo then takes us from the...

Another baby from Legofunk series will make your body shake!

180-Gram Limited Edition. Brazilian poet, lyricist, essayist and playwright, Vinicius de Moraes (1913- 1980) became a seminal figure in modern Brazilian music and literature. Along with his longtime collaborator, composer, arranger, singer, and pianist/guitarist Antonio Carlos Jobim (1927-1994), known in Brazil as Tom Jobim, he composed hundreds of songs which have become true classics and have transcended the bossa nova, as they continue to be played and recorded by countless singers and instrumentalists within Brazil and throughout the world. This LP set compiles some of the earliest recordings by Vinicius.

Altercat proudly presents the definitive reissue of one of the crown jewels of South American jazz. Essentially the brainchild of Argentinian jazz's leading figure Jorge López Ruiz, the project Viejas Raíces marked Lopez Ruiz's departure from the traditional forms of jazz. The trio that recorded this album, consisting of López Ruiz joined by his life-long friend drummer Pocho Lapouble and gifted Chilean pianist Matías Pizarro, created a thrilling blend of jazz and Uruguayan candombe, surrounded by an undeniable cinematic feel spurred by López Ruiz's long experience in the soundtrack field. When read as one element, the cleverly chosen combination of group name and album title (in English: 'Old Roots of the Colonies of the River Plate') readily hints at the kind of sounds the listener will be challenged with when diving into this LP.

The definition of the word 'fado' is technically 'fate', though the Portuguese meaning bound up with this term is more complex. The music itself can be fairly closely compared with that of Greek rebetika - also the American blues or the original working-class tango music of Argentina and Uruguay - and similarly takes it's common subject matter from the various cruel realities of the world. Though perhaps what distinguishes fado in character is it's often poised acceptance of the pains of life rather than protestation or resistance - as writer Paul Vernon says "It speaks with a quiet dignity born of the realisation that any mortal desire or plan is at risk of destruction by powers beyond individual control"
Death Is Not The End compile here a spine-tingling collection of fado recordings, taken from records issued in the mid 1910s through to the 1930s. The fado's Lisbon and Coimbra variants are presented here by some of the music's earliest recorded stars - prior to the rise of the music's all-conquering figurehead, Amália Rodrigues - and all of them "fadistas" imbued with a keen dose of saudade.

Maria do Carmo - Beijos São Como as Rosas (1929)
Jose Paradela D'Oliveira - Fado de se Velha (1927)
Edmundo de Bettencourt - Crucificado (1929)
Madalena De Melo - Cantares (1930)
Luiza Baharem - Fado Mondego (1931)
Alberto Xavier Pinto - Fado Do Paraizo (1929)
Maria Victória - Fado Maria Victória Nº 1 (1914)
Maria Silva - Fado Alice (1929)
Adelina Fernandes - Misérias (1928)
Estêvão Amarante - Fado do Cauteleiro (1929)
Alfredo Marceneiro - Olhos Fatais (1936)
Ermelinda Vitória - Fado da Minha Aldeia (1930)
Dr. Lucas Junot - Triste (Fado) (1929)
Maria Alice - Quando o Meu Filho Adormece (1929)
Laura Santos - A Magia do Fado (1929)
Joao Rocha Jor - Fado Rocha (Unknown)

Tango Argentino is not only a sensual and intoxicating dance and musical style, but also a cultural symbol that reflects the history, passion and identity of Argentina. Originating in the suburbs of Buenos Aires in the late 19th century, tango combines African rhythms, European social dances, and the influences of immigrants to Argentina to create a unique dance form. Initially considered scandalous, tango gained acceptance and popularity over time. Traditional tango music, characterized by soulful melodies and melancholy lyrics, is dominated by the bandoneón, an accordion-like instrument, and accompanied by violin, piano and guitar. Beyond the borders of Argentina, tango has become a worldwide phenomenon, with international tango festivals and dance clubs in cities worldwide. Unesco declared tango culture an Intangible Cultural Heritage of the World in 2009. Tango Argentino has produced timeless masterpieces and great musical artists that are considered important cultural symbols of Argentina and are compiled in this collection. Tango Argentino remains the universal language of passion, longing and joy that enchants dancers and listeners alike.

Glorious Various Artist on the beloved Legofunk Records. Moving sensations for an always pleasant vibe!

From the rare and obscure to the unknown, producer Tee Cardaci mines eleven genre-spanning gems from the waning days of Brazil's military dictatorship, recorded by a new emerging class of artists operating outside of the major label system. Sonhos Secretos, or Secret Dreams in English, alludes to the quiet aspirations of those that made these independent and privately released seven-inches as well as to the fact that many of these records have long remained essentially a secret. It's also, to some extent, a reference to a certain dream-like quality that permeates this collection. These songs contain elements of jazz, soul, folk, prog, baroque rock and shimmering pop (housed under the blanket term Música Popular Brasileira, or Brazilian Popular Music). This unique compilation, presented by reissue specialists Org Music and online audio journal Aquarium Drunkard, includes a fold-out insert with artist interviews and additional liner notes by Brazilian music scholar Allen Thayer.

From the rare and obscure to the unknown, producer Tee Cardaci mines eleven genre-spanning gems from the waning days of Brazil's military dictatorship, recorded by a new emerging class of artists operating outside of the major label system. Sonhos Secretos, or Secret Dreams in English, alludes to the quiet aspirations of those that made these independent and privately released seven-inches as well as to the fact that many of these records have long remained essentially a secret. It's also, to some extent, a reference to a certain dream-like quality that permeates this collection. These songs contain elements of jazz, soul, folk, prog, baroque rock and shimmering pop (housed under the blanket term Música Popular Brasileira, or Brazilian Popular Music). This unique compilation, presented by reissue specialists Org Music and online audio journal Aquarium Drunkard, includes a fold-out insert with artist interviews and additional liner notes by Brazilian music scholar Allen Thayer.

Exotica, ye-yé cumbia, guaracha infused twist, rock'n roll mambo, Spanish rumba, boogaloo beat, tropical garage and other unexpected bastard genres are featured in this festive compilation of bizarre hits taken from the glorious catalog of records released during the 60s and 70s on the Peruvian label Discos MAG. Some clearly unite genres, others are projects with creative names, but all are bold musical initiatives that got and will always get people onto the dance floor. "Sabroso Go Go" brings together fourteen musical mixes created in the recording studios of Manuel Antonio Guerrero (MAG), in which music directors combine rhythm with alchemy in a quest to find the philosopher's stone of the dance. Exotica, ye-yé cumbia, guaracha infused twist, rock'n roll mambo, Spanish rumba, boogaloo beat, tropical garage and other unexpected bastard genres are featured in this festive compilation. Although this compilation begins in 1957, experiments like this (some more memorable than others) were not new in Peru. The songs on this album were however much more successful hybrids. Some clearly unite genres, others are projects with creative names, but all are bold musical initiatives that got and will always get people onto the dance.

You know that long hot days are fast approaching when it is Brazilian music that you crave. Thankfully the Scruniversal has got us covered with a second release that is as scorching as the first. It pairs MPB, samba and Latin flair with hard-edged hip-hop and funk stylings across a pair of tunes from Scruscru, each one a different collaboration. The first is alongside Tony Lavrutz and has gorgeous vocals and organic percussion paired with cut-up beats and jazzy keys that will ignite any floor on 'Rave Du Brazil.' It is Los Protos's jazz funk groover 'Primavera' that gets the good vibes going on the flip.

A Dream Team of folclóricas covering the wide spectrum of African-American influenced 1970s dance music spiced with flamenco. The hits of Isaac Hayes, Billy Preston or The Temptations in the charts showed the way to go. An almanac for 20th Century Rosalías headed by Lola Flores, Isabel Pantoja, Rocío Jurado and a bunch of female singers, copleras, cantaoras and rumberas. A black and white lysergic dream amidst post-Franco’s Spain. Stick your ears to the speakers. Here comes an emotional rollercoaster!

Death Is Not The End presents a collection of haunted, brooding flamenco recordings taken from the early 1900s through to the late 1930s.

Curating and ordering the tracks for a Mr Bongo Record Club is always special. You’re reminded of the feelings you had when sitting at home with a cassette player on pause trying to compile the perfect mixtape to impress the latest object of your affection, or that friend with whom you share a musical kinship and spark off each other’s latest discoveries. Hearing old tracks for the first time or diving into the most upfront selections keeps the fires burning and passions alight.

Here, for volume six, we present recent finds and treasured classics from Brazil, Sweden, the USA, South Africa, Portugal, Japan, Trinidad and Tobago, and Canada. We have included selections by the Brazilian rising star Dora Morelenbaum as well as from heritage-Brazilian musicians and vocalists Haréton Salvanini, Copa 7, and Mirna. There’s also the wonderful Brazilian-not-Brazilian take of 'Ye Me Le' by Hazel Scott And The Braza Brasil, plus sublime gospel from the New York Community Choir. We’ve picked disco and soul rarities by General Lee and Ash Soul, Inc., and for the first time on vinyl, an incredible psych-pop song by the illustrious Matthew Tavares. There are cuts from some of our favourite contemporary Swedish musicians, Sven Wunder and Dina Ögon too.

This compilation is packed full of gems that are plucked from differing times and spaces, but somehow all gel together beautifully. We hope you love them too.

Curating and ordering the tracks for a Mr Bongo Record Club is always special. You’re reminded of the feelings you had when sitting at home with a cassette player on pause trying to compile the perfect mixtape to impress the latest object of your affection, or that friend with whom you share a musical kinship and spark off each other’s latest discoveries. Hearing old tracks for the first time or diving into the most upfront selections keeps the fires burning and passions alight.

Here, for volume six, we present recent finds and treasured classics from Brazil, Sweden, the USA, South Africa, Portugal, Japan, Trinidad and Tobago, and Canada. We have included selections by the Brazilian rising star Dora Morelenbaum as well as from heritage-Brazilian musicians and vocalists Haréton Salvanini, Copa 7, and Mirna. There’s also the wonderful Brazilian-not-Brazilian take of 'Ye Me Le' by Hazel Scott And The Braza Brasil, plus sublime gospel from the New York Community Choir. We’ve picked disco and soul rarities by General Lee and Ash Soul, Inc., and for the first time on vinyl, an incredible psych-pop song by the illustrious Matthew Tavares. There are cuts from some of our favourite contemporary Swedish musicians, Sven Wunder and Dina Ögon too.

This compilation is packed full of gems that are plucked from differing times and spaces, but somehow all gel together beautifully. We hope you love them too.

Curating and ordering the tracks for a Mr Bongo Record Club is always special. You’re reminded of the feelings you had when sitting at home with a cassette player on pause trying to compile the perfect mixtape to impress the latest object of your affection, or that friend with whom you share a musical kinship and spark off each other’s latest discoveries. Hearing old tracks for the first time or diving into the most upfront selections keeps the fires burning and passions alight.

Here, for volume six, we present recent finds and treasured classics from Brazil, Sweden, the USA, South Africa, Portugal, Japan, Trinidad and Tobago, and Canada. We have included selections by the Brazilian rising star Dora Morelenbaum as well as from heritage-Brazilian musicians and vocalists Haréton Salvanini, Copa 7, and Mirna. There’s also the wonderful Brazilian-not-Brazilian take of 'Ye Me Le' by Hazel Scott And The Braza Brasil, plus sublime gospel from the New York Community Choir. We’ve picked disco and soul rarities by General Lee and Ash Soul, Inc., and for the first time on vinyl, an incredible psych-pop song by the illustrious Matthew Tavares. There are cuts from some of our favourite contemporary Swedish musicians, Sven Wunder and Dina Ögon too.

This compilation is packed full of gems that are plucked from differing times and spaces, but somehow all gel together beautifully. We hope you love them too.