Sergio Mendes Music

By sharing its culture, Brazil has enriched countless lives around the world. Coming from a nation of great musical traditions, Sergio Mendes has never been one of his country's best exports. Always fast to embrace the commercial sound du jour, Mendes' discography hasn't aged well. "Primal Roots" is the exception to this rule. As the title suggests, this isn't another cornball excursion into Brazilian pop. Here, there's no pandering to Tropicália, disco or whatever was en vogue in 1972 -yes despite being played by the Brasil '77, the album was actually recorded in 1972 under the alternate title "Raízes." This is an album of traditional Brazilian music. The compositions feature traditional percussion instruments such as the gogó, cuica, pandeiro and atabaques. Much of the compositions emphasize the African origins of Brazilian music. While "Primal Roots" doesn't sell out to commercial pressures, it is far from a field recording of traditional music. While some songs feature minimalist chanting and drumming, others feature those silky smooth female vocalists, flutes and some psychedelic keyboard work. Sergio Mendes may never be remembered in the same light as Astrud Gilberto, Airto Moreira and Gilberto Gil but "Primal Roots" will always be remembered as his 'important album.'

I fished this LP out of a bargain bin years ago. What a gem! Real indigenous Brasilian music with a jazz edge. I look forward to hearing the remastered version. Expensive, but worth it, I'd say.

By sharing its culture, Brazil has enriched countless lives around the world. Coming from a nation of great musical traditions, Sergio Mendes has never been one of his country's best exports. Always fast to embrace the commercial sound du jour, Mendes' discography hasn't aged well. "Primal Roots" is the exception to this rule. As the title suggests, this isn't another cornball excursion into Brazilian pop. Here, there's no pandering to Tropicália, disco or whatever was en vogue in 1972 -yes despite being played by the Brasil '77, the album was actually recorded in 1972 under the alternate title "Raízes." This is an album of traditional Brazilian music. The compositions feature traditional percussion instruments such as the gogó, cuica, pandeiro and atabaques. Much of the compositions emphasize the African origins of Brazilian music. While "Primal Roots" doesn't sell out to commercial pressures, it is far from a field recording of traditional music. While some songs feature minimalist chanting and drumming, others feature those silky smooth female vocalists, flutes and some psychedelic keyboard work. Sergio Mendes may never be remembered in the same light as Astrud Gilberto, Airto Moreira and Gilberto Gil but "Primal Roots" will always be remembered as his 'important album.'

Sergio Mendes uses an expanded percussion ensemble, virtuoso flute, and folk guitar to develop an appealing set of Brasilian music. African and Amerindian rhythms form the core, and his ability to blend them into his trademark sound makes Primal Roots special.
Two Brasil '66 standards open. His organ captures the religious invocation in "Promise"; Sunrise", a steady, melodic chant, is powerful in its simplicity. "Canto'', "Iemanja"' and "Pomba" are primal. The tempo is faster, approaching urgency, with male/female voices using call/response and singing/chanting in unison."Circle Game", a series of extended, alternating, abstractions, is the centerpiece, comprising half of the 37:05. He introduces the flute dramatically, followed by a wailing voice. "Circle" bursts into frenetic song, and then slows to a crawl. The flute takes a long solo, with piano and guitar creating a contemplative mood,flute joining guitar as piano recedes, and percussion ultimately adding contrast. The group catches fire, changing pace twice near the finish to play the pulsating bridge of "Primitivo", a 1964 song Mr. Mendes recorded with Bossa Rio. "Circle" flows pleasantly into the tranquil opening of "Promise" in closing. "Crab", full of sunshine and warmth, provides a joyous end.
Primal Roots is the best of all worlds. Whether you have enjoyed Sergio Mendes' music for years, or seek an introduction, you will enjoy.

This cd blends both Brazilian and African-American Roots into one musical form. The songs are splendid and the sound of this cd puts most American product to shame. Again Gracinha Leporace shines throughout. She is Mrs Sergio Mendes but has nothing to apologize for. Her credentials are solid and the entire ensemble has opportunities to stretch, especially in the course of the cd's magnum opus The Circle Game. Special thanks to Japan for including the bonus cut The Crab.

This 1972 release was Mendes' big "I can, too, play traditional!" album... and, boy, could he! A thunderous, kaleidoscopically produced sound with some killer Afro-Brazilian percussion. If you don't want to fool around with the lite pop stuff, but are still wondering what all the fuss was about, then try this one out. (Issued as "Raizes" in Brazil)

By sharing its culture, Brazil has enriched countless lives around the world. Coming from a nation of great musical traditions, Sergio Mendes has never been one of his country's best exports. Always fast to embrace the commercial sound du jour, Mendes' discography hasn't aged well. "Primal Roots" is the exception to this rule. As the title suggests, this isn't another cornball excursion into Brazilian pop. Here, there's no pandering to Tropicália, disco or whatever was en vogue in 1972 -yes despite being played by the Brasil '77, the album was actually recorded in 1972 under the alternate title "Raízes." This is an album of traditional Brazilian music. The compositions feature traditional percussion instruments such as the gogó, cuica, pandeiro and atabaques. Much of the compositions emphasize the African origins of Brazilian music. While "Primal Roots" doesn't sell out to commercial pressures, it is far from a field recording of traditional music. While some songs feature minimalist chanting and drumming, others feature those silky smooth female vocalists, flutes and some psychedelic keyboard work. Sergio Mendes may never be remembered in the same light as Astrud Gilberto, Airto Moreira and Gilberto Gil but "Primal Roots" will always be remembered as his 'important album.'

Sergio Mendes uses an expanded percussion ensemble, virtuoso flute, and folk guitar to develop an appealing set of Brasilian music. African and Amerindian rhythms form the core, and his ability to blend them into his trademark sound makes Primal Roots special.
Two Brasil '66 standards open. His organ captures the religious invocation in "Promise"; Sunrise", a steady, melodic chant, is powerful in its simplicity. "Canto'', "Iemanja"' and "Pomba" are primal. The tempo is faster, approaching urgency, with male/female voices using call/response and singing/chanting in unison."Circle Game", a series of extended, alternating, abstractions, is the centerpiece, comprising half of the 37:05. He introduces the flute dramatically, followed by a wailing voice. "Circle" bursts into frenetic song, and then slows to a crawl. The flute takes a long solo, with piano and guitar creating a contemplative mood,flute joining guitar as piano recedes, and percussion ultimately adding contrast. The group catches fire, changing pace twice near the finish to play the pulsating bridge of "Primitivo", a 1964 song Mr. Mendes recorded with Bossa Rio. "Circle" flows pleasantly into the tranquil opening of "Promise" in closing. "Crab", full of sunshine and warmth, provides a joyous end.
Primal Roots is the best of all worlds. Whether you have enjoyed Sergio Mendes' music for years, or seek an introduction, you will enjoy.

This cd blends both Brazilian and African-American Roots into one musical form. The songs are splendid and the sound of this cd puts most American product to shame. Again Gracinha Leporace shines throughout. She is Mrs Sergio Mendes but has nothing to apologize for. Her credentials are solid and the entire ensemble has opportunities to stretch, especially in the course of the cd's magnum opus The Circle Game. Special thanks to Japan for including the bonus cut The Crab.

This 1972 release was Mendes' big "I can, too, play traditional!" album... and, boy, could he! A thunderous, kaleidoscopically produced sound with some killer Afro-Brazilian percussion. If you don't want to fool around with the lite pop stuff, but are still wondering what all the fuss was about, then try this one out. (Issued as "Raizes" in Brazil)

Tracks are split between a trio and a big brass sound.Brass,in the lower register,take the forefront,both jazzy and smooth with,overall,elsewhere,flute being as prevalent as sax and trumpet (the flute is exclusive to the trio).Mendes leading from the piano,on all numbers.Drums and double bass; well presented,not drowned out.Some very good tracks: about half of the total; mostly the trio.Brass has to be very good to cut it,with me,these days.Fine musicians enjoying themselves.

This is early Sergio Mendes recorded in Brazil.

Set is made up by a rhythm section plus sax and trombone, leaded by Mendes at the piano. Players are the best in place and time of Rio de Janeiro, the capital and motherland of Bossa Nova, as shown in an apropriate black-and-white photograph. Time was the 60s before Mendes moved to America.

No vocals, no similarity with Sergio Mendes and Brazil'66.

This is great Jazz in Bossa Nova format.

A bunch of Bossa Nova classics compiled out from some of Mendes' Brazilian instrumental Bossa Jazz combo albums.

This is a great album, but I agree with other reviewers, this is not your classic Sergio Mendes or the bossa nova album you are expecting. Great versions of the famous songs, no vocals with a very strong Jazz influence, you could almost say that is a Jazz record with Bossa Nova influence. So be ready to be sorprised, but still it makes a wonderful album to listen to. So enjoy it... but at the end you might ask yourselft, is this Sergio Mendes???.

The previous reviewer is exactly right, the sound here is nothing like Mendes & Brasil '66. This is bossa nova bliss, and the Sergio Mendes I prefer and care to remember. Many of these tracks are from his albums Swinger From Rio and Beat of Brazil, which were released together in 1999 on CD by the Collectables label. However, the musical clarity on this disc is of a higher quality in my opinion, despite having less tracks. This compilation is a winner from start to finish, and is the place to start if interested in the early sound of Mendes or if you just want to hear great bossa nova. I'd give it ten stars if I could.