Top Songs of Sérgio Mendes
One of the biggest names to be exported Brazilian music around the world and taking bossa nova lead by Lá pra lá is Sergio Mendes, died at 83 on Thursday.
Mendes melded the music of his native Brazil in the mid-60s with jazz, then formed a group (Sergio Mendés and Brazil ’66) that charted and soared.
Over the years he released an album after another of amazing music, collaborating with musicians from Stevie Wonder to Will. The latter of whom produced Timeless, featuring Yourself and the likes.
So, in tribute to his amazing life — and voice for the ages— listen to those 10 brilliant songs as well as a couple dozen or so equally great cover versions.
These have been his greatest hits that are going to be remembered in the history of music.
“Mas Que Nada” (1966)
One of Sérgio Mendes´ biggest hits, “Mas Que Nada” is a Brazilian standard that introduced the upbeat sounds of samba to an international audience. The song was written by Jorge Ben Jor – and Mendes’ rendering with his Brazil ’66 ensemble became a smash on this side of the equator.
His breezy song — complete with lush harmonies and swinging rhythms — captures the joyous core of Brazilian music.
A decade later the song meshed with hip-hop when The Black-Eyed Peas joined Sergio on a remake in 2006 giving this anthem new life to strike again for another generation.
“The Look of Love” (1968)
Burt Bacharach and Hal David penned it, but here Mendes makes “The Look of Love” his own with its slinky jazz-meets-bossa nova template.
This seductive tune appeared on the album Look Around and became a hit, receiving an Academy Award nomination.
“Fool on the Hill” (1968)
Their cover of The Beatles’ “Fool on the Hill” added a touch Brazilian to this timeless and charming track. Using boss nova rhythms under the original’s psychedelic pop, his rendition lends a tropical flavor to the tune.
The song was a notable success, showcasing the Reimagined magic of Mendes and his uniquely personal take on modern hits.
“Night and Day” (1983)
Of the covers, Mendes’s take on Cole Porter and Oscar Hammerstein 2nd’s “Night and Day,” shows his early propensity to make jazz mix with Brazilian rhythms.
This song is a prime example of both his virtuosic piano playing and the tight incorporation of poly rithyms, multilayered grooves that makes Brazilian music so hypnotizing. On this jazz standard Mendes adds a fresh coat of electricity and class in his rendition.
Never Gonna Let You Go (1983)
The song is a far cry from his previous work with the Brazilian-influenced beats and sounds, calling it an affectionate “soft rock ballad” which went on to make Baldry famous in America.
Performed by Joe Pizzulo and Leza Miller, it reached number one on the Adult Contemporary chart and is still a favorite among fans. Lush production and a catchy melody give the song, filled with Mendes’s buttery vocals, crossover appeal.
“Waters of March” (1972)
Águas de Março (Waters of March) — Antônio Carlos JobimOne of the most/iconic tracks written by Antônio Carlos Jobim, Águas de Março is another song that Mendes has become synonymous with.
An intricate song with even more poetic lyricism and a melody that is the metaphorical water of which it speaks, samba-touched. Mendes’ version of the song really captures that bittersweet, hope-filled feeling of a change in seasons.
“Magalenha” (1992)
An energetic song, and one of Mendes’ most notoriously upbeat tracks “Magalenha,” from his 1992 album Brasileiro celebrates Afro-Brazilian culture in all its glory.
This is complemented with a pulsating and energetic rhythm that make it an unmissable dance track. It grew in popularity after it was featured on the soundtrack to Dance with Me and remains a live favorite for Sorayama.
What do we mean to each other 1984
One of his deeper nineties gems, they simply don’t write them like “What Do We Mean to Each Other” anymore – a heartfelt ballad with an unforgettable tune which saw him reflect on life and love.
That statement is a testament to Mendes’ talent for delivering music that taps into the textures and dimensions of love, romance and relationships.
The recording artist’s extensive catalog also serves as evidence of Mendes’ gift for merging textures and cultures effortlessly.
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