Sergio Mendes Sergio Mendes

Album info



Label: Warner Music Group

Genre: Latin

Subgenre: Latin Jazz

Artist: Sergio Mendes

Composer: Sergio Mendes

Album including Album cover

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  • 1Davy04:05
  • 2I Believe [When I Fall In Love It Will Be Forever]03:39
  • 3All In Love Is Fair04:26
  • 4Let Them Work It Out03:08
  • 5Here Comes The Sun03:46
  • 6If I Ever Lose This Heaven03:04
  • 7Lookin' For Another Pure Love03:36
  • 8Someday We'll All Be Free04:13
  • 9You Been Away Too Long04:10
  • 10The Trouble With Hello Is Goodbye03:58
  • Total Runtime38:05

Info for Sergio Mendes

The mystery-driven bossa and pop-samba of Sergio Mendes' 1960s and early-'70s work was already giving way by this point - 1975 - to a much more straight-ahead version of radio fare. Given that this was the dawning of the age of disco, and that Barry Manilow was already striking the charts hard, it is totally explainable, if not totally forgivable. For Mendes, his strength had always been in highly original, indelibly Brazilian interpretations of the hits, from 'Fool on the Hill' to 'Goin' Out of My Head' to virtually a hundred other American chart hits, interspersed with modern readings of traditional Brazilian songs. On this disc, produced in association with schlockmeister Dave Grusin, his first for Elektra, Mendes settles for very straight and lackluster readings of 'I Believe (When I Fall in Love It Will Be Forever)' and 'All in Love Is Fair,' by Stevie Wonder -- versions that pale miserably in comparison with the originals. To be fair, there is Leon Ware's 'If I Ever Lose This Heaven' that deals up a handy serving of light, funky soul with the traditional two-female chorus against a backdrop of Motown-style strings and chunky electric piano. Truly unforgivable is George Harrison's 'Here Comes the Sun,' with a lilting, shimmering piano and Stax guitar line against a completely deadpan female vocal. Near the end of the record is a beautiful, if very straight, reading of Donny Hathaway's 'Someday We'll All Be Free.' It lacks the drama of the original, but in its low-key presentation perhaps gets the essence of the song's meaning across better and is an unqualified success. Ultimately, this is a pretty shoddy Sergio Mendes album. The collectors will have to have fit for their own perverse reasons, but there are far better places to start and finish than this. (Thom Jurek, All Music Guide)

Sergio Mendes, piano & composer
Sondra Catton, vocals
Bonnie Bowden, vocals
Chuck Rainey, bass
Harvey Mason, drums
Paola Costa, percucssion
Jerome Richardson, flute
Bernard Ighner, guitar
David Amaro, guitar
David T. Walker, guitar
Dennis Budimir, guitar
Oscar Neves, guitar

Recorded at Record Plant
Engineered and mixed by Phil Schier
Mixed at Westlake Audio
Produced by David Grusin and Sergio Mendes

Brazilian music legend Sergio Mendes spins his remarkable magic on his newest recording, Encanto (Enchantment), which is among the maestro’s most beautifully realized in his unparalleled career. The collection refines Sergio’s singular blend of infectious rhythms and irresistible melodies from the great Brazilian Songbook, with his always thoroughly modern arrangements and masterful production approach. The resulting collection is a bona fide Sergio Mendes classic-- a kaleidoscopic album that underscores the maestro's ear for addictive melodies, as well as his ability to cast incredibly talented singers and musicians from all over the world.

Every time I make a new record, it’s a new adventure. explains the affable Mendes from his Los Angeles home. “My main motivation, he enthuses, is to record wonderful songs. In the process, I enjoy sharing with the world the diversity of Brazilian music-- both in terms of rhythm and melody.

This time, I wanted to go full circle. So I decided to begin this journey in my homeland, Brazil. I traveled to Rio and Bahia, meeting a number of old friends that I hadn't played with in quite a while. There’s a very special musically creative environment in Brazil, which inspires me tremendously.

Mendes was still living in Brazil during the momentous era between the late '50s and the early '60s when the samba-based bossa nova was born. In fact, he was one of the first practitioners of the new genre, together with composer Antonio Carlos Jobim, guitarist Joao Gilberto and lyricist Vinicius de Moraes.

True to his desire to go back full circle, Mendes recorded four seminal Jobim compositions: a hip-hop version of Agua De Beber with Toninho Horta on guitar, Mendes' wife Gracinha Leporace on vocals, and the man himself showcasing his instrumental chops on a bewitching Rhodes solo; Waters of March, which features Grammy nominated,super talented new artist Ledisi; Somewhere In The Hills, with vocals by none other than Natalie Cole and Flugel Horn solo by great German jazz artist Till Bronner; and Dreamer, which marks the first time that former mentor Herb Alpert actually plays the trumpet on a Sergio Mendes album, with brilliant vocals by Lani Hall, Alpert’s wife and the original lead singer of Mendes’ Brasil ‘66. (Source: Entertainment Resource Group, Inc.)

This album contains no booklet.

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