Banda de Boca means mouth band and they are a sensation in the Brazilian musical scene. With their mouths they can play, sing, and delight.
Banda de Boca is formed by six singers who, among other qualities, share the capacity to make perfect use of their vocal potential. It is the most original Brazilian new act to have emerged in recent times.
Banda de Boca manages, with their refined and creative arrangements, to have their repertory make incursions into PBM (Popular Brazilian Music), funk, north-eastern music, international hits, in addition to their own compositions.
Badi Assad (pronounced bah-jee Ah-Sahj) is one of Brazil’s most talented performers. A heartfelt vocalist who sings in English and Portuguese and is known for her Bobby McFerrin-like improvisations, Assad is also one of the country’s truly accomplished guitar players.
Badi Assad was born in 1966 in the small town of Sao Joao da Boa Vista (Sao Paulo state) as Mariangela Assad Simao, but grew up in Rio de Janeiro until she was twelve. Her father Jorge, of Lebanese descent, had decided in 1969 to move with his family to Rio in order to be able to give Badi’s musically talented older brothers Sergio and Odair a classical guitar training with Monina Tavora, an Argentine pupil of the great Spanish guitarist Andres Segovia.
By the mid-1980s, as the Duo Assad, the two brothers achieved worldwide recognition and popularity. Now Badi wanted to follow in their footsteps and, having first played the piano, took up the guitar at the age of 14. Only a year later she had already mastered the instrument to the stage of participating in – and winning – national and international competitions.
Musical studies at the university in Rio were the logical next step. In 1989 she recorded her first album, Danca dos Tons (“Dance of the Tones”), which at the time was released only in Brazil but last October was reissued internationally with four bonus tracks under the new title A Danca das Ondas (“The Dance of the Waves”).
After that Badi Assad began experimenting increasingly with vocal sounds, producing percussive tones with her mouth and integrating this element into her music. To her already outstanding guitar playing she thus added new and exotic sounds and expressive possibilities. Soon she had opportunities to demonstrate her exceptional skills in collaboration with other artists.
Before long Badi was appearing with musical greats such as Pat Metheny, Hermeto Pascoal, Milton Nascimento and Dori Caymmi. It wasn’t until after 1993, however, the year she signed a contract with the noted audiophile label Chesky Records, that she really entered the international spotlight. In 1994 the company released her US debut album Solo, which was followed in 1995 by Rhythms and in 1997 by Echoes of Brazil.
With each new album her international reputation continued to grow. The American trade journal Guitar Player ranked Badi Assad in 1994, along with Charlie Hunter, Ben Harper and Tom Morello of Rage Against The Machine, as one of the ten young talents who would revolutionize guitar playing in the 90s.
Rhythms was singled out as one of the most important recordings of 1995, in the sphere of classical music as well as jazz. In 1995, Assad was voted Best Acoustic Fingerstyle Guitarist by editors of Guitar Player, while readers of the magazine named her album Rhythms the Best Classical Album of the Year.
Although her earlier albums focused on unique interpretations of songs by songwriters such as Egberto Gismonti, Milton Nascimento, Ralph Towner and George Harrison, Assad displayed her songwriting talents on her 1998 album, Chameleon, co-writing nine of the album’s 12 tracks. The co-writer was her then husband Jeff Young. The album sold well worldwide but was exceptionally successful in Germany and Spain, where the song “Waves” was in the top ten for weeks, even higher in the charts than a current hit of Madonna’s.
Three years of radical change followed the release of Chameleon: first, Badi suffered from a motor disability that made it nearly impossible for her to play the guitar, then she separated from her husband Jeff, and finally in 2001 she returned to Brazil, which she had left four years earlier to pursue her career in the USA.
Settled once again in Brazil and working from there, she completed the recordings for a collaborative album with Young, which was finally released at the end of 2002 under the title Nowhere.
In 2004 she recorded Three Guitars for Chesky Records, she recorded Three Guitars with the outstanding American guitarists Larry Coryell and John Abercrombie, an acoustic guitar album which received rave reviews.
Her 2005 album, And now Badi Assad looks set to receive them again for her new solo album Verde. The repertoire consists of an unusual mixture of highly individual new interpretations of Brazilian classics and international pop hits as well as original compositions, two written in cooperation with her longtime musical partner Jeff Young.
Thus Badi’s own songs stand alongside Luiz Gonzaga’s ever-popular “Asa branca” and “Bom dia, tristeza” by Adoniran Barbosa and Vimcius de Moraes as well as Bjork’s “Bachelorette” and U2’s “One”. Among the accompanists, standouts include Badi’s bassist and co-producer Rodolfo Stroeter (who runs the ambitious independent label Pau Brasil in Sao Paulo and also leads a jazz band of the same name), percussionist Nana Vasconcelos, flautist Teco Cardoso (known from Joyce’s band) and the accordion virtuoso Toninho Ferragutti.
And then there’s a very special guest: the great Toquinho – best known outside Brazil for his collaboration with bossa poet Vimcius de Moraes – who can be heard in “Implorando” in a guitar duet with Badi.
As a guitarist of great technical mastery and an unquenchable thirst for innovation, Badi Assad has over the past ten years attracted a steadily growing group of fans, critics and instrumental colleagues throughout the world.
With her dynamic and electrifying voice, slightly reminiscent of Adriana Calcanhoto, she’s now certain to win over many new admirers. “I think I have something to communicate to other people, not just the ones who love my guitar playing”, she says.
“I’d like to present my musical universe to all people -regardless of whether they otherwise listen to pop, jazz, classical, rock or Brazilian music.”
Danca do Tons [Dance of Sounds] (Crescente Produções, 1989)
Solo (Chesky, 1994) Rhythms (Chesky, 1996)
Juarez Moreira & Badi Assad (Centro Cultural Banco do Brasil, 1995) Echos of Brazil (Chesky, 1997) Chameleon (Polygram, 1998)
Three Guitars, with Larry Coryell and John Abercrombie (Chesky, 2003)
Danca das Ondas (Gha, 2003)
Verde (Edge/Deutsche Grammophon, 2004) Wonderland (Edge/Deutsche Grammophon, 2006)
Amor e Outras Manias Crônicas (YB, 2012)
Between Love and Luck (Quatro Ventos, 2013)
Cantos de Casa (Quatro Ventos, 2014) Hatched (Quatro Ventos, 2015)
Up until his death in 2000, Baden Powell was considered one of the world’s finest contemporary acoustic guitar players and one of the most expressive composers of the 20th Century Brazilian popular music. Powell grew up listening to music. His father, a shoemaker by trade and a violinist by calling, held regular get-togethers at home at which Pixinguinha and Donga, two of Brazil’s popular music icons, were always present.
In 1960, during a performance by Tom Jobim at Arpege, a nightclub in Copacabana, Baden met Vinicius de Moraes, who would become his most frequent collaborator and who was responsible for Baden’s integration into the bossa-nova movement. Moraes said of Powell, Baden’s musical antennae to Bahia and, in a final stretch, to Africa, allowed him to put together this new syncretism, adding a carioca taste, within the spirit of modern samba, to the Afro-Brazilian candomble, giving it a more universal dimension.
Soon after, Powell went to the Unites States to meet and play with Stan Getz and was a key player in the integration of the bossa nova into jazz. Above all, as an acoustic guitar virtuoso, he never forgot his Brazilian roots.
Monteiro de Souza e Sua Orquestra Apresentando Baden Powell e Seu Violão (Philips, 1961)
Um Violão Na Madrugada (Philips, 1961)
A Vontade (Elenco, 1963)
Baden Powell Swings with Jimmy Pratt (Elenco, 1963)
Le Monde Musical de Baden Powell, Vol. 1 (Barclay, 1964)
Billy Nencioli + Baden Powell (Barclay, 1965) Tristeza on Guitar (MPS/Saba, 1966)
Ao Vivo No Teatro Santa Rosa [live] (Elenco, 1966)
Os Afro Sambas de Baden e Vinicius (Forma, 1966)
Tempo Feliz (Forma/Polygram, 1966)
Poema on Guitar (MPS/Saba, 1968)
Fresh Winds (United Artists, 1969)
27 Horas de Estudio (Elenco, 1969)
Le Monde Musical de Baden Powell, Vol. 2 (Barclay, 1969)
Canto on Guitar (MPS/Saba, 1970)
Os Cantores Da Lapinha (Elenco, 1970) Solitude on Guitar (Columbia, 1971)
Baden Powell Quartet, Vols. 1-3 (Barclay, 1970)
Baden Powell – Live In Japan ’70 (Barclay, 1971)
E de Lei (Philips, 1972) Images on Guitar (MPS, 1973)
Estudos (MPS, 1974)
Apaixonado (MPS, 1975)
The Frankfurt Opera Concert 1975 (Tropical Music, 1975)
Baden Powell canta Vinicius de Moraes e Paolo Cesar Pinheiro (Festival, 1977)
Nosso Baden (WEA, 1980)
Simplesmente (WEA, 1980)
Melancolie (Accord, 1985) Seresta Brasileira (Milestone, 1988)
Bossa Nova Guitarra Jubileu (Saludos Amigos, 1993)
Three Originals (MPS/Polygram, 1993)
Baden Powell (MPS, 1993)
Rio Das Valsas (Alex, 1994)
Guitar Pieces (Etcetera, 1994)
Live in Hamburg (Acoustic Music, 1995)
Guitar Music (Etcetera/Qualiton, 1995)
Live in Rio (Iris, 1996) Os Afro Sambas (Iris, 1996)
Felicidade (Adda, 1996)
Rio Das Valsas (Iris, 1996)
Mestres Da MPB (WEA Latina, 1996)
Baden Powell a Paris (Rge, 1996)
Baden Powell (Musidisc, 1997)
A Vontade (Polygram Brazil, 1997)
Guitar Artistry of Baden Powell (Dom, 1998)
Baden Powell de Aquino (Iris, 2001)
Lembrancas (Trama, 2001)
De Rio à Paris (Body & Soul, 2003)
Fremeaux and Associates Recordings 1994-1996 (Fremeaux & Associes, 2003)
O Universo Musical de Baden Powell (Sunnyside, 2003)
Rio das Valsas (Iris, 2003)
Live in Montreux (Fremeaux & Associes, 2004)
Le Monde Musical de Baden Powell (Universal, 2005)
At the Rio Jazz Club (Iris, 2005)
Baden Live a Bruxelles (Sunnyside, 2005)
Musica (WEA, 2005)
Astrud Gilberto is the legendary Brazilian singer sometimes referred to as The Girl from Ipanema. She is also known as The Queen of bossa nova. Her unique style combines seductive rhythms of Brazilian and American pop and jazz.
She was born on March 29, 1940 in Salvador, in the Northeast of Brazil, in the state of Bahia, Astrud is one of three sisters of a German father and a Brazilian mother. She grew up in Rio de Janeiro. She emigrated to the United States in the early 1960s, where she resides since then.
Besides having had an accomplished career as a singer, Astrud’s is a prolific songwriter. She has influenced several generations of musicians and vocalists, worldwide. The combination of international touring, the reissuing of some of her early records on CD, as well as the release of the Desafinado duet with George Michael has created an additional new generation of international fans for Astrud Gilberto, who joined the large number of her long time followers.
Getz Au Go Go (Verve Records, 1964) The Astrud Gilberto Album (Verve Records, 1965)
The Shadow of Your Smile (Verve Records, 1965)
Look to the Rainbow (Verve Records, 1966) Beach Samba (Verve Records, 1967)
A Certain Smile, a Certain Sadness (Verve Records, 1967)
Windy (Verve Records, 1968)
17-Sep-69 (Verve Records, 1969)
I Haven’t Got Anything Better to Do (Verve Records, 1970)
Gilberto with Turrentine CTI Records, 1971)
Now (Perception Records, 1972)
That Girl from Ipanema (Audio Fidelity Records, 1977)
Astrud Gilberto Plus James Last Orchestra (Polygram Record, 1987)
Live in New York (Pony Canyon, 1996)
Temperance (Pony Canyon, 1997)
Jungle (Magya Productions, 2002)
Anima – Musica Mundana Humana Et Instrumentalis Ensemble has been performing since 1992, mixing the simplicity of popular culture and the refinement of classical culture. The repertoire is based on research of Brazilian music of oral tradition – folk and popular-, European music written between the 12th and 15th centuries, and folk songs from different parts of the world.
By listening and choosing a number of works and researching a number of instruments the group draws a parallel of contrasting cultures and expressions. In 1993, Anima was the winner of the prize “Premio Estimulo” awarded by the Department of Culture of the City of Campinas, Sao Paulo, for the concert.” ESPIRAL DO TEMPO”, later performed in cities around Brazil.
In 1994, with three other ensembles for Brazilian music, they participated in the CD “Trilhas “that received two nominations for the prize “Premio Sharp 94”. Anima’s programs are originated out of collective creation, each rehearsal is a laboratory for composing and improvising. They bring to light ancient roots of popular music and popular language existing in ancient music, establishing Anima’s own sonority.
Isa Taube – vocals
After graduating in conducting by UNICAMP (SP) -Universidade Estadual de Campinas (State University of Campinas), was awarded scholarship from Berklee College of Music (Boston, U.S.), and specialized in singing. In 1996 she recorded her first solo CD performing popular Brazilian and North American music. She works on ancient European music, having performed with The ensemble Pró-Música Antiga de Campinas.
Ivan Vilela – Brazilian ten-string guitar
Graduated in composition from UNICAMP (SP), where he is finishing a post graduation course. Vilela composes music for theater and movies and is the author of the regional thematic opera “Cheiro de Mato e de Chao.” He has been researching the cultural expressions of Minas Gerais (BR) for twenty years. Vilela composed and directed a number of records for renowned guitar players and ensembles linked to popular culture. He has also recorded music for children.
Hortela, with the singer Priscila Stephan (1985)
Trilhas, with the ensemble Trem de Corda (1994)
João Carlos Dalgalarrondo – percussion
Studied classical percussion wifh ClaudioStephan arid Luis Anunciao. In France, studied classical percussion with Gaston Sylvestre and’ Iranian drum (Zarb)with Bruno Calla and Djamchid Chemirani at the Rueil-Malmaison Conservatory, and participated in the ensemble Pays-Paisage, dedicated to research contemporary-and traditional music. Was member of the Municipal Symphonic Orchestra of Campinas (SP) and teacher of rhythm and percussion’ at UNICAMP. Soloist and chamber performer of ancient, jazz, and popular music. Author, director Mid interpreter of musical-theater, as well as composer and art manager. Winner of’ the prize ‘”Primeiro Firestone de Musica Criativa” for one of his plays. Often performs in Brazil, Argentina, Paraguay, Spain, France and the U.S.
Luiz Henrique Fiaminghi – Brazilian fiddles
Studied violin with Paulo Bosisio and Ayrton Pinto (UNESP/SP) – State University of Sao Paulo). Bachelor of Arts in composition and conducting from UNICAMP/SP. Was violinist for the Municipal Symphonic Orchestra of Campinas. Awarded in 1987 a scholarship by CNP – Conselho Nacional de Pesquisas (National Research Council) to study baroque violin and baroque music interpretation in Holland.
Studied at the Conservatory of Rotterdam (Teacher Marie Leonhardt)and at the Conservatory of Utrecht (Teacher Alda Stuurop). Stayed there until 1992. Has performed in a number of baroque orchestras, including the European ‘Community Baroque Orchestra. Was violin teacher at the State University of Santa Catarina, from 1993 to 1995. Has worked as visiting teacher at important courses and festivals. Member of Nucleo Talea of medieval music and the baroque music ensemble Harmonia Universalis.
Patricia Gaiti – harpsichord
Post graduated in harpsichord by UNIGAMP (State University of Campinas) in 1997. Participated in a number of master classes for ancient music taught by Elisa Freixo, Roberto de Regina, Helena Jank, Edmundo Hora, Christophe Rousset (France), Jacques Ogg and Chris Farr (Holland). Member of the ensemble Harmonia Universalis for baroque music. Researches music therapy to psychotic patients. Participated in the Duo Bem Temperado in the CD “Trilhas”, in 1994 and in 1998 launched a CD “Mexericos da Rabeca”, -with songs for fiddle and harpsichord by Jose Eduardo Gramani Valeria Bittar – recorders Studied recorder in Brazil with Joao Dias Carrasqueira.
Graduated in recorder at the Academy of Music and Dramatic Arts of Vienna, Austria, being awarded scholarship by “Alban Berg Stiftung”. Participated in a number of master classes focused on ancient and contemporary music, in Germany, Liechtenstein, Holland and Italy, also studied with recorder player Kees Boeke (Holland/Italy). Member of chamber music groups in Brazil and abroad, publishes books about classical music, contributed with Radio Cultura FM (SP) producing programs about ancient music, produced and participated in the CD “Espiraldo Tempo”. Member of the ensemble, Harmonia Universalis of baroque music and Nucleo Talea of medieval music. Develops work on recorder interpretation together with corporal and breathing consciousness.
Espiral Do Tempo (1997) Especiarias (2000)
Andre Vasconcellos is a soloist bass player, composer and producer, one of the most representative players of a new generation of musicians. Working with the most famous Brazilian artists since the age of 17, and first appeared nationally and internationally touring with Djavan.
This was followed by Ivan Lins, Milton Nascimento, Sandy e Junior, Ed Mota, Simone, Rosa Passos, Leila Pinheiro, Torcuato Mariano, Leo Gandelman amongst others. He was a member of the Hamilton de Holanda Quintet.
Ana Maria and Matias Moreno are two professional Brazilian musicians. Ana Maria studied at the Escola de Musica at Villa Lobos in Rio de Janeiro, and Matias Moreno at the Seminarios Livres de Musica da Bahia. Both worked in the classical, popular and folk music fields. In 1978 they combined their talents to form a folk group named A Tribo.
Later came a series of travels throughout Brazil and many recordings. The recordings seek to preserve the rich cultural traditions of Brazil.
Aleh Ferreira is a Brazilian multi-instrumentalist and composer who plays an instrumental Brazilian genre known as choro. At some of his his concerts, he is accompanied by a chamber ensemble known as Regional e Quarteto de Cordas that includes cello, oboe, violin, and piano.
Ferreira plays mandolin, guitar, small guitar, tambourine, violin, viola, and cello.
Airto Moreira’s work with Miles Davis during the Bitches Brew era and leadership in the jazz fusion genre (Weather Report, Return To Forever) places Airto in the forefront of percussionists worldwide. Airto’s influence is so powerful that in 1972 Downbeat Magazine added a “percussion” category to its readers’ and critics’ polls, and Airto was voted ‘best’ in that category many times.
Winner of the 1996 Drum Magazine Award for best percussion and Jazz Central Station’s 1996 Best Percussionist Award, Airto keeps on winning fans worldwide. His formidable expertise in Brazilian cultures and percussion instruments make Airto’s performances educational and dazzling.
Airto Guimorva Moreira was born the son of a spiritual healer in the South Brazilian town of Itaiopolis, Santa Catarina, in 1941. His love for music manifested itself at an early age. He was drumming before he could even walk, beating his fists on the floor whenever he heard music with a strong beat on the radio, which prompted his worried mother to take medical advice on his condition. By the time he was six – and winner of numerous music contests – Airto was given his first radio show on Saturday afternoons, which became a big hit in the South Brazilian town of Curitiba.
At 13, Airto sang in the band Jazz Estrela and at 16 he moved to Sao Paulo to further his career as a professional jazz drummer. By 1963, Airto had moved to Rio de Janeiro, where he became an integral part of two of the most successful bands at the time. At the age of 22, he founded the legendary Quarteto Novo (The New Quartet) with Hermeto Pascoal, Theofilo De Barros and Heraldo Do Monte. Mixing Brazilian protest songs with jazz, the band sometimes backed a fiery young vocalist called Flora Purim and – after some initial clashes – she and Airto discovered that they had more in common than music and formed what has proven to be an enduring alliance.
In 1967, at the instigation of his wife and in order to escape the then repressive military regime in Brazil, the couple moved to North America, initially to Los Angeles and then to New York, where Flora worked in a restaurant called Lost & Found. Between paid gigs, Airto would play there for his dinner. Although he could barely speak English, Airto quickly found himself fluent in the universal musical language shared by Reggie Workman, Cedar Walton and bassist Walter Booker (father of Krishna Booker aka The Factor). It was through Booker that Airto began to meet the greats…people like Cannonball Adderley, Lee Morgan and Joe Zawinul.
Zawinul recommended Airto to Miles Davis for a recording session in 1970 and he was soon invited to join the historic ‘electric’ band – perpetrators of the seminal ‘Bitches Brew’. This included such other jazz icons as Wayne Shorter, Dave Holland, Jack DeJohnette, Chick Corea, and later, John McLaughlin and Keith Jarrett. Airto remained with the Davis group for two years and appears on several classic Miles’ sets of the era, including Live At The Fillmore and Live/Evil. He shared drumming duties on the first Weather Report album with Alphonse Mouzon, then left to form Return To Forever with Chick Corea, Stanley Clarke and Joe Farrell in late 1971.
Having recorded two classic albums (Return To Forever and Light As A Feather) featuring the vocal pyrotechnics of Flora Purim, Chick Corea then pursued a more electric direction and Airto and Flora went their own way. For the past two decades, the couple have been practically inseparable, touring and recording together constantly.
1991 saw the release of the album Planet Drum, the culmination of a long-standing friendship with Grateful Dead drummer Mickey Hart, whom he first met when the Miles Davis band opened for The Dead at the Fillmore West in 1970. Planet Drum topped Billboard’s World Music Chart for almost six months and won the first Grammy ever presented in the category of Best World Music Recording. In the same year Airto also won the Grammy for Best Live Jazz Recording for his collaboration with the late Dizzie Gillespie on the album United Nations Orchestra. The following year, Airto again joined forces with Mickey Hart to produce the groundbreaking album of healing music The Other Side Of This.
In 1993 Airto and Flora joined the brilliant guitarist Jose Neto and the keyboards and reeds wizard Gary Meek to form Fourth World, a highly danceable Latin jazz/rock band whose first album (BW030) marked Airto’s first involvement with B&W Music. Also released is Killer Bees (BW041) recorded with a freeform supergroup, The Gods of Jazz, featuring old friends Stanley Clarke, Chick Corea, Mark Egan, Hiram Bullock and Herbie Hancock as well as Flora and Gary Meek. Airto is also the prime mover of the Outernational Meltdown project. With Flora, Jose Neto and others, Airto was integral to Fourth World. The final statement of the group Fourth World is Last Journey to the Fourth World (BW2122).
Although Airto and Flora Purim traveled the world constantly for many years, Airto’s love for the music and the people of his native Brazil takes him back every year to visit old friends and relatives, and to pay respects to his spiritual guides and elders. Airto’s commitment to spiritualism started at an early age and for the past ten years he has been practicing Spiritual Healing Music: the opening of new channels in communication between artists and audience, or in Airto’s words, “creating a true feeling of friendship and enjoyment that is so needed in the world right now”. His lifelong interest in spirituality led him to record The Other Side of This, an exploration into the healing power of music.
Airto continues to explore what he calls ‘Creative Percussion’. In concert, he uses a large table on rolling legs that holds a variety of strange implements. While some of these are actual percussion instruments, other items might be included as a metal rack from a refrigerator, rubber hoses, wooden shoes, springs attached to tin cans, and shakers made from beer cans. He is always on the lookout for anything that can make a unique sound and it is this attitude that will always keep Airto creative and young at heart.
His vocals, unique percussion style and the work of percussionists from other drumming traditions has attracted an audience interested in world music. It would be no exaggeration to say that Airto has influenced the direction of modern jazz worldwide. He has won numerous awards from TV and music magazines and enjoys an unparalleled audience, as a solo artist and with Flora Purim and with his numerous collaborations with artists such as Quincy Jones, Herbie Hancock and Paul Simon. Recently he even and played on MTV Unplugged with The Smashing Pumpkins as well as contributing to movie soundtracks including The Exorcist, The Last Tango in Paris, King of the Gypsies and Apocalypse Now.
Airto has collaborated on numerous projects for M.E.L.T.2000 including the Outernational Meltdown series, Byron Wallen’s albums, the famous Kon’ko Man album by Madala Kunene, Flora Purim’s albums and Jose Neto’s album Neto. With such a wealth of musical experience and creative production of other artists and indigenous music it is not surprising that that his peers look to him as a master and pioneer of percussion.
Airto has produced and been involved in many breakthrough cross-cultural musical projects. Tribal Ethno Dance (BW092) was an opportunity to produce his own interpretation to what were basic field recordings, using simple recording equipment in rural settings. ‘The Wire’ described it as “the real African deal, but with a twist”. Sources came from DZM projects, Khoisan bushmen, the split-tone singers of Ladyfrere and a group of traditional (Sangoma) healers led by Suzan Hendricks.
Revenge of the Killer Bees (ELM8012) is a project that revisits the seminal Airto Moreira and The Gods of Jazz album Killer Bees (BW041) and is a fresh interpretation under the direction of Tony Thorpe and features remixes of Airto’s collaborations with various jazz icons, Millenium style. The spectacular recording Code:Brasil, Target: Recife is the result of Airto’s recent project involving three local bands from Recife, in Northeastern Brazil, representing the various styles and rhythms of that region.
Natural Feelings (Buddah, 1970)
Seeds on the Ground (Buddah, 1971)
Free (CTI, 1972) Fingers (CTI, 1973)
Virgin Land (CTI, 1974)
Promises of the Sun (Arista, 1976) I’m Fine, How Are You? (Warner Music Japan, 1977) Touching You… Touching Me (Warner Music Japan, 1979)
Misa Espiritual (1984)
Three-way Mirror (1985)
Samba De Flora (Montuno, 1988)
Struck by Lightning (Venture, 1989)
Killer Bees (B&W Music, 1989) The Other Side of This (Rykodisc, 1992)
Revenge of the Killer Bees, remix of Killer Bees (Electric Melt, 1993)
Homeless (MELT 2000, 1999)
Life After That (2003)
Aluê (Selo Sesc, 2017)
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion