Brasil

The album ‘Som, sangue e raça’ paves the way for future generations of musicians and producers of the carioca scene at the beginning of the 1970s. The lyrics that dealt with the question of race and the explosive fusion of samba, soul, jazz and funk, elaborated by Dom Salvador and his troupe, Abolição, established the bases for the development of new sounds and tendencies in Brazilian music.This isn’t just a seminal album. It is an estuary. All the black rivers that would form Brazilian funk/hip-hop flow through it. Led by Paulista pianist Salvador Silva Filho – Dom Salvador – “Som, Sangue, e Raça” from 1971, one year after the explosion of Tim Maia on the scene, catalyzed the bossa nova and jazz background of its leader with the rhythm and blues of its members like saxophonist Oberdã Magalhães, newphew of samba-enredo master Silas de Olvieira and future leader of Banda Black Rio, who since the group Impacto 8 (which had, among others, Robertinho Silva on drums and Raul de Souza on trombone) had already been trying to reconcile MPB with Stevie Wonder and James Brown. Add to all this a mixture of samba, Nordestino accent, and even the black side of the Jovem Guarda represented by the authorial presence of of Getúlio Cortes (older brother of Gerson King Combo, our James Brown “cover”) in ‘Hei! Você’. Alongside these elements and the preseence of Rubão Sabino (bass), who still called himself ‘Rubens’, drummer Luis Carlos (another member of Black Rio), the disc enlists the trumpet and flugelhorn of symphonic musician Darcy in place of the original Barrosinho (yet one more founder of Black Rio), who was traveling during the recording but would end up being a leading force of the band.

Santa Cruz - Mais Uma Chance (Jack Tennis Remix): Looks like everybody fell in love with „Mais Uma Chance“ by Santa Cruz. It is one of the standout- and most played tracks of TSTD Brasil. So now Berlin’s Jack Tennis put his magic hands on the song and delivers a striking DJ-friendly Yacht-Disco version. Edinho Santa Cruz loves the track so much, that we just had to release it officially. Berlin producer Jack Tennis is the mastermind behind a lot of projects. He releases his own music under the name Hotlane (signed to Gomma Records) and spreads his Disco-Edits for UK’s influential Disco Label Midnight Riot (run by Yam Who!).Les Inferno – Brazilewis: To round up things we were able to convince italian Rework/Edit legend Les Inferno to give us his previously unrelesaed track „Brazilewis“, a chillout slo-mo groover, that you can find in all of DJ Supermarkt’s sets for some time now. Les Inferno releases on Samosa Records, one of the hippest new Edit/Rework labels (striclty vinyl). His tracks were already championed by none other then Mister Moodyman himself.

Legendary Funk soul album from 1972. A Black Rio masterpiece reissued for the first time on vinyl. Limited to 500 copies, in authentic collectors 70s ' paste-on' packaging.Son of a Guyanese father and a Brazilian mother, at 11 years old Tony ran away from home and ended up in Rio de Janeiro where he became a street kid and made a living selling peanuts and shining shoes.At 18 he served in the Deodoro School of Parachuting along with the futurely TV presenter and entrepreneur Silvio Santos. In 1957, he fought in the Suez Canal.Tony began his artistic career in the 60s with the stage name Tony Checker, lip-synching and dancing on "Hoje dia de Rock" show of Jair Taumaturgo. That time Tony imitated singers Chubby Checker and Little Richard. Even in the 60s, he traveled to the United States where he lived for five years in New York.In New York, Tony served as drug dealer and pimp, to deceive the immigration department, pretending to be an employee of a car wash. At that time, Tony met another Brazilian who also lived in New York, the also singer Tim Maia.Back in Brazil in 1969, he worked in the group of Ed Lincoln and also sang at night with the pseudonym Johnny Bradfort, the owner of the club forced him to pretend to be a foreigner.In 1970, he adopted the name with he came to be known, "Tony Tornado". Influenced by James Brown, Tony was one of the artists who introduced soul music and funk in Brazilian music.That same year, alongside Trio Ternura defended the song BR-3, which got the first place in the festival. His first role on television was in 1972 , in the 1972 telenovela "Jeronimo" on TV Tupi. James Brown released "I'm Black and I'm Proud" during the height of the Black Power Movement in the United States in 1968. Brown's in-your-face approach to racial pride resonated in the U.S. ghettos as well as the slums abroad. Many black people, all around the world, embraced the Black Power soundtrack and consciousness. Working-class black cariocas (residents of Rio) of Zona Norte began using the English phrases "Black Power," "brother" and "black is beautiful." They played African-American soul records at their bailes(dances) and incorporated the lyrics and sounds into their music.Maia, the godfather of musica soul, spent five years in the United States. He came to know the sounds of black America intimately. When he returned to Brazil in 1964, Maia incorporated the soul and funk influences into his songs. By the 1970s, other Brazilian musicians, such as Tony tornado, Banda Black Rio, Cassiano, Gerson King Combo, Jorge Ben Jor and Gilberto Gil, began making soul records. DJs started throwing soul-only parties. This nova (new) music spoke to an experience both universal and unique at the same time. The time period was known as "Black Rio. By the end of the '70s, funk and disco would take over where soul left off, but it was the latter that helped to shape a generation of artists around a universal black identity.

Célia Regina Cruz recorded four self-titled albums for Continental between 1971 and 1977, ‘Amor’ in 1982 plus several more before she sadly passed away late in 2017. Célia was a Brazilian vocalist who worked frequently with master arranger-composer Arthur Verocai in her early years and many other heavyweights over the course of her extensive career.This, her second self-titled LP from 1972, features an all-star line up including Arthur Verocai, Erasmo Carlos, Roberto Carlos, Marcos Valle, Antonio Carlos Jobim, Nonato Buzar and Vinicius de Moraes amongst others. Célia’s version of ‘Na Boca do Sol’ – taken from this album – is arguably her most well-known and well-loved song. An incredible take on Verocai’s original, featuring waling fuzz guitars, strings, piano, horns and drums.

New single by legendary Brazilian singer DI MELO, 40 years after his classic self-titled Samba-Soul LP. Performed and produced by French brilliant combo COTONETE, this single and collaboration will be followed by a full album early 2019.Florian Pelissier speaks about the project: “On tour in Brazil with Cotonete, we had a few days off in Sao Paulo and I really hoped to make a collaboration with an important artist or band from the Brazilian funk scene. We had thought of Marcos Valle, Meta Meta or Ed Motta... but Rafaela Prestes our Brazilian "sound ingineer/genious" told me: "I worked for the return of Di Melo in Rio 2 years ago. He rocks, he’s adorable and he lives in Sao Paulo, here’s his number, he would be perfect for Cotonete."No sooner said than done. I'm a huge fan of Di Melo and had already tried to contact him for Cotonete 6 years ago. The next day, on a Sunday, he arrives at our house with Jo, his wife, and Gabi, his daughter. He takes the guitar in front of us in the kitchen, and gives us a private show of 3 hours… we cried the tears of joy.He had 400 original songs never recorded, a gold mine. On the same night, we started working the arrangements for 2 days, followed by a rehearsal and two small gigs in Sao Paulo. Immediately after, we recorded in the magical Epsilon B studio. All with the participation of Gabi, his 10-year-old daughter, and future star.This album is the summary of this moment, of these 5 days of madness spent together between “the best band in the world” and the legend Roberto Di Melo… Simple, beautiful, Brazilian-French, human music…”

The fourth studio album from legendary singer and composer Tim Maia is a masterpiece of soulful pop and contemporary Brazilian styles, exemplified by the hit "Gostavo Tanto De Você" and the gorgeous English-language "Over Again," a gem of sunshine soul. The influence of Memphis is evident in the Booker T-esque instrumental "Amores" and the swamp funk of “Do Your Thing, Behave Yourself” and “Balanço,” while the timeless classic “Réu Confesso” showcases Maia’s songwriting skills in a samba-soul standard.