SERGIO MENDES

Early career

The child of a physician in Niterói, Brazil, Mendes attended the local conservatory with hopes of becoming a classical pianist. As his interest in jazz grew, he started playing in nightclubs in the late-1950s just as bossa nova, a jazz-inflected derivative of samba, was taking off. Mendes played with Antonio Carlos Jobim (regarded as a mentor) and many U.S. jazz musicians who toured Brazil.Mendes formed the Sexteto Bossa Rio and recorded Dance ModernoEurope and the United States, Mendes recorded albums with Cannonball Adderley and Herbie Mann and played Carnegie Hall. Mendes moved to the U.S. in 1964 and cut two albums under the Brasil '65 group name with Capitol Records and Atlantic Records. in 1961. Touring

Middle career

Mendes' career in the U.S. stalled in the mid-1970s, but he remained very popular in South America and Japan. His two albums with Bell Records in 1973 and 1974, followed by several for Elektra from 1975 on, found Mendes continuing to mine the best in American pop music and post-Bossa writers of his native Brazil, while forging new directions in soul with collaborators like Stevie Wonder, who wrote Mendes' R&B-inflected minor hit, "The Real Thing."

In 1983, he rejoined Alpert's A&M records and enjoyed huge success with a self-titled album and several follow-up albums, all of which received considerable adult contemporary airplay with charting singles. "Never Gonna Let You Go", featuring vocals by Joe Pizzulo and Leza Miller, equalled the success of his 1968 single "The Look of Love" by reaching #4 on the Billboard Hot 100 chart; it also spent four weeks atop the Billboard adult contemporary chart.^[2] In 1984, Mendes worked with singer Lani Hall again.

By the time Mendes released his Grammy-winning Elektra album Brasileiro in 1992, he was the undisputed master of pop-inflected Brazilian jazz. The late-1990s lounge music revival brought retrospection and respect to Mendes' oeuvre, particularly the classic Brasil '66 albums. His stature in his native Brazil is reflected by "Cantor de Mambo," a song by fellow Brazilians Os Mutantes, which they regularly dedicate to Mendes in concert

Later career

Timeless features a wide array of neo-soul and alternative hip hop guest artists, most prominently will.i.am and The Black Eyed Peas. It was released February 14, 2006 by Concord Records.^[1]

It features The Black Eyed Peas, Erykah Badu, Black Thought, Chali 2na of Jurassic 5, India.Arie, John Legend, Justin Timberlake, Q-Tip, Stevie Wonder and Pharoahe Monch.

The 2006, re-recorded version of "Mas que Nada" with The Black Eyed Peas had additional vocals by Gracinha Leporace (Mendes' wife); a version that is included on his album Timeless. In Brazil, the song is pretty well-known for being the theme song for the local television channel Globo's Estrelas.

The Black Eyed Peas' version also contains a sample of their 2004 hit "Hey Mama". The re-recorded song became popular on many European charts. On the UK Singles Chart, the song entered at #29 and rose to and peaked at #6 on its second week on the chart.

A Brief Biography of Brasil '66

Arriving on A&M Records' doorstep in 1966, Sergio Mendes and his group were signed to a record deal by Herb Alpert, whose enthusiastic response enabled their immediate success. Blending Brazilian, jazz and American popular styles, Brasil '66 became known for their unique, innovative sound. . While Mendes was the lively pianist, arranger, producer and musical director, it was Chicago-bred vocalist Lani Hall who gave the group the finesse that ensured their success on the pop music charts. Lani is equally at home singing in English, Spanish and Portugese, although you'd never know it from the way she tackles all of her songs with the ease of a native.

This particular discography covers only the seminal Brasil '66 group and two Brasil '77 albums on A&M. His biggest post-Brasil '66 hit was "Never Gonna Let You Go", recorded in the 1980's. At a later time, this discography will grow to cover more of Sergio's recordings for other record labels, both before and after his tenure with A&M. At the end of the illustrated discography of Brasil '66, you'll find a complete album discography listing, courtesy of Steve Sidoruk of the A&M Fan Network.

Notice: we are in the midst of overhauling our discography--please hang tight while we get it updated!

The original Brasil '66 lineup, as recorded on the first three A&M albums, consisted of Mendes on piano and keyboards, Lani Hall and Janis Hansen on vocals, Jose Soares on Latin percussion, Bob Matthews on bass and Joao Palma on drums. (Tijuana Brass guitarist John Pisano plays guitar starting with Equinox.) Starting with Fool On The Hill, the Brasil '66 lineup would include Mendes, Lani Hall and vocalist Karen Phillips, with a completely new rhythm section consisting of Sebastiao Neto, Dom Um Romao, Rubens Bassini and Oscar Castro Neves. Stillness would be Lani's final album with Brasil '66, leaving to record her first solo project in 1972, Sun Down Lady.