The Voice Of Brazil - Elis Regina

The Voice Of Brazil
Graced by the exquisite arrangements of Roberto Menescal, The Voice of Brazil combines Elis Regina'smasterful 1968 LP, Elis, Como e Porque (Elis, How and Why) with recordings made a year later in London where Menescal teamed with Peter Knight (of Moody Blues fame). Although the flawless album she made in 1974 with Tom Jobim is regarded internationally as one of the great treasures of Bossa Nova, almost three decades after her death Elis remains one of the music world's best-kept’secrets, a truly great’singer who deserves to be recognised beyond her beloved Brazil. Stylistically, Elis Regina is part Dusty Springfield, part Blossom Dearie, considered to be part of the Tropicalia family.
Our Price: £9.95
Code: ACMEM143CD
Weight: 200
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Aquarela Do Brasil / O Sonho / Vera Cruz / Casa Forte / Canto De Ossanha / Giro / O Barquinho / Andança / Récit De Cassard / Samba Da Pergunta / Memórias De Marta Saré / Corrida De Jangada / A Time For Love / Se Você Pensa / Giro / A Volta / Zazueira / Upa Neguinho / Watch What Happens / Wave / How Insensitive / Você / O Barquinho
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Art And Voices
Os Cariocas, a fresh new sound from Brazil the first vocal quartet blending bossa-nova rhythms and melodies with modern jazz harmonies Quincy Jones. Os Cariocas were formed in 1942 by brothers Ismael Neto and Severino Filho, and distinguished by their ambitious and elaborate vocal arrangements for four or five voices, that combined polyphony and rhythmic effects. They became the most representative vocal group of bossa nova after their 1957 recording of "Chega de Saudade"; being one of the first recordings of this Tom Jobim / Vinicius de Moraes masterpiece that would eventually be the one that started it all for João Gilberto, the song that would change forever Brazil's musical landscape. Its dazzling arrangement apart, the Os Cariocas version is noteable for the appearance of Gilberto himself on guitar. Because their guitarist Badeco couldn t duplicate the bossa beat, João volunteered to sit in at the recording and play anonymously. For Os Cariocas, the bossa nova phase was their second one, lasting between 1957 and 1967, when the group was disbanded. Their first phase included two decades broadcasting for Radio Nacional do Rio de Janeiro, and their 1948 debuts "Nova Ilusão" and "Adeus América" (later rerecorded by João Gilberto and remaining one of his classics), on which they mock American musical institutions of the day.
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Spiral / Sometimes
On their initial release,’Sometimes’ and ‘Spiral’ must have appeared to the average early Seventies hipster like the kind of instantly disposable records hi-fi buffs bought just to show off their latest piece of kit. Too jazzy, funky and freaky to be easy listening but too tightly arranged and laid back for serious Jazz. They positively invited dismissal critics from all sides, and this was to exactly be their fate. Yet over the following three decades a growing number of voices have protested these albums’ significance. Now with their first official release on CD, we can finally hear for ourselves that the extravagant claims made on both albums behalves, were in fact true!! Take ‘Spiral’ for example, the ten minute epic of a title-track includes synthesiser, organ, fuzz bass, brass riffs, echo effects, and Clare ‘Dark Side of The Moon’ Torry supplying the vocal is when it becomes apparent that this is no singular work at all. No exaggeration to say that for sheer imagination and inventiveness, the music contained here rivals such a masterpiece of the British instrumental scene as Roy Budd score for ‘Get Carter’. All the more remarkable was that the Harry Roche Constellation was not a jobbing band but a studio-only assemblage of some of the leading session players of the day. That was part of Roche’s genius; he sought after and attracted top session players who could bring so much more tot the table than instrumental virtuosity - including heavyweights such as Don Lusher, Pete Moore and trombonist Harry Roche. Perhaps the most striking thing about the Constellation was its bizarre an unprecedented brass and woodwind line up - with nine sonorous trombones augmented by only a few instruments in the upper register. Inevitably, both ‘Spiral’ and ‘Sometimes’ failed to sell in sufficient quantities and a third album was abandoned mid-session. However, these are richly textured-multi-faceted recordings that ultimately transcend genre by the sheer quality of both arrangements and musicians. Although Harry Roche passed away in 1987 at the age of 69, his Constellation shines on. Our Price: £9.95

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Don't Dream of Anybody but me
Few performers epitomised the sound of Scandinavian jazz, or did more to introduce it to the rest of the world, than Monica Zetterlund.

On its release in 1958, her debut album Swedish Sensation, announced the arrival of a genuinely distinctive talent. Her voice was delicate, fragile and tinged with melancholy - far removed from the barnstorming style that characterised so many American jazz singers - yet there was nothing bloodless about her sense of rhythm and melody.

In Sweden her popularity extended far beyond the jazz ghetto. Monica possessed enormous personal charm, beauty and grace, with the result that she also made a substantial impact on the pop charts, television and cinema. In 1963 she represented her country in the Eurovision Song Contest at a time when to be asked to do so was still considered an honour and a year later recorded Waltz for Debby with Bill Evans, the masterpiece for which she is internationally best known.

Don't Dream of Anybody But Me collects all of Monica Zetterlund's recordings in 1959 and 1960; five ultra-rare Swedish EPs including her interpretations of favourites from My Fair Lady and (with Carli Tornehave) Porgy and Bess. Particular highlights are a joyous Hallelujah, I love Him So and beautiful readings of Cole Porter's Get Out of Town and the title track, Neil Hefti's Don't Dream of Anybody But Me with the baritone saxophone of the legendary Lars Gullin.


"The Swedish jazz singer in a collection of hitherto hard-to-find EPs from the end of the 1950's that prove her claim as one of Europe's leading jazz vocalists". 3/5* Alyn Shipton (Jazz Wise, August 2012)

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Los Brincos (The Leapers or The Jumpers) were the best Spanish '60s pop band, acclaimed, then and now, as the equivalent of the Spanish Beatles.
Contrabando is arguably their most complete LP; recorded in London By Larry Page - under the stylistic influence of Swinging London and such refined works as Revolver, The Zombies' Odessey and Oracle and The Kinks' Something Else - it was released in 1968 and includes the hits Lola, (no relation to The Kinks song) El Pasaporte, So Good To Dance and Nadie Te Quiere Ya. The sleeve was designed by filmmaker Iván Zulueta.
Contrabando proved the band's viability after members Juan Pardo and Junior had left to start their own career as a duo. The other original members, Fernando Arbex and Manolo González, quickly rebuilt the four-piece with Ricky Morales - Junior's younger brother - and Vicente Fernández. Los Brincos remained faithful to their beat group aesthetic, but at this point also opened up to more eclectic and playful musical and conceptual possibilities.
The album was recorded at Abbey Road, with engineer Geoff Emerick. It was essential to establish themselves in the international market and several songs were recorded in both English and Spanish. In order to help realise their international ambitions the group, enlisted the services of Larry Page, who had handled both The Kinks and The Troggs with enormous success. But all of Page's contacts weren't enough for the band to break through in the UK, where two singles were released on the producer's own, Page One, label. Still, Lola and El Pasaporte were big hits in Spain, making it clear that Juan & Junior hadn't taken the four-piece's audience with them.
On this El edition of Contrabando, the original album is augmented by all of the outstanding pop-psych single A & B sides released by Los Brincos between 1967-69.

Release Date: 22/04/2013
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