小简介
喜欢桑巴和Bossa Nova，就一定会知道教父级的制作人、作曲家、编曲大师Sergio Mendes。从六十年代起，Sergio Mendes就是最畅销的巴西音乐人，而他和著名音乐人Herb Alpert共同创立的A&M也是最成功的主流厂牌之一。
 
在20世纪60年代,巴西的Bossa Nova风格的音乐很受美国听众的欢迎,Sergio Mendes从欧洲搬至美国纽约.Sergio Mendes就在1965年底组建了在那个时期轰动一时的巴西音乐组合"Brasil'66",他们的首支热门歌曲为"Mas Que Nada"(意为:"It's Nothing")，随着这支歌曲在美国榜单上的突破,之后的一些歌曲也逐一登上TOP40："Look Around", "Fool on the Hill", "Constant Rain"。但是,他们的团队合作精神到了1969年左右逐渐消失,而听众们对Brasil' 66的热情也降低了很多。1971年,Sergio Mendes把Brasil' 66升级至Brasil' 77,并且这一做法一直持续到20世纪90年代早期,最终成为Brasil' 99.因为Sergio Mendes的不屑努力,通过编创的音乐作品,将人们一次又一次的领进一个没有流行,只有疯克、爵士和巴西音乐的声音世界。
 
by Bruce Eder
For most of the second half of the 60s, Sergio Mendes was the top-selling Brazilian artist in the United States, charting huge hit singles and LPs that regularly made the Top Five. His records with his group Brasil 66 regularly straddled the domestic pop and international markets in America, getting played heavily on AM radio stations, both rock and easy listening, and he gave his label, A&M, something to offer light jazz listeners beyond the work of the companys co-founder, Herb Alpert. During this period, he also became an international music star and one of the most popular musicians in South America.
Born the son of a physician in Niteroi, Brazil, Sergio Mendes began studying music at the local conservatory while still a boy, with the intention of becoming a classical pianist. Mendes was living in Rio de Janeiro as the bossa nova craze hit in the mid- to late 50s, and at age 15, he abandoned classical music in favor of bossa nova. Mendes began spending time with other young Brazilian musicians in Rio de Janeiro, absorbing the musical ferment around him in the company of such figures as Antonio Carlos Jobim and João Gilberto. Their company was augmented by the periodic visits of American jazz giants such as Stan Getz, Dizzy Gillespie, Charlie Byrd, Paul Winter, Roy Eldridge, and Herbie Mann. Mendes became the leader of his own group, the Sexteto Bossa Rio, and was heard with them by many visiting musicians. He made his first recording, Dance Moderno, in 1961 on the Philips Records label. By 1962, Mendes and his band were playing at Birdland in New York in an impromptu performance with Cannonball Adderley (who was officially on the bill). Mendes and Adderley cut an album together for Capitol Records that was released later that year.
His early music, represented on albums like Bossa Nova York and Girl from Ipanema, was heavily influenced by Antonio Carlos Jobim, on whose recording Mendes worked. Mendes liked what he had found on his visit to New York and in 1964, he moved to the United States, initially to play on albums with Jobim and Art Farmer, and formed Brasil 65 the following year. The group recorded for Capitol without attracting too much notice at first. In 1966, however, Mendes and his band — renamed Brasil 66 — were signed to A&M Records and something seemed to click between the group and its audience.
The group, consisting in its first A&M incarnation of Mendes on keyboards, Bob Matthews on bass, João Palma on the drums, Jose Soares as percussionist, Lani Hall (aka Mrs. Herb Alpert and A&Ms co-founder) on vocals, and Janis Hansen on vocals, was successful upon the release of its first album for the label, with its mix of light jazz, a bossa nova beat, and contemporary soft pop melodies. Their self-titled debut LP rose to number six nationally, propelled by the presence of the single Mas Que Nada. Their second album, Equinox, yielded a trio of minor hits, Night and Day, Constant Rain (Chove Chuva), and For Me, but their third, Look Around, rose to number five behind a number three single of the groups cover of the Beatles Fool on the Hill, and an accompanying hit with Scarborough Fair, based on the Simon & Garfunkel version of the folk song. Crystal Illusions, from 1969, featured a version of Otis Reddings (Sittin On) The Dock of the Bay and the hit single Pretty World. Depending upon ones sensibilities, these covers — especially Fool on the Hill and Scarborough Fair — were either legitimate internationalized pop versions of the originals, or they were elevator music.
During this period, Mendes also made several recordings for Atlantic Records separate from his A&M deal, principally aimed at a light jazz audience, and several of them in association with Jobim. Art Farmer, Phil Woods, Hubert Laws, and Claire Fisher were among the jazz figures who appeared on these records, which never remotely attracted the same level of interest or sales as his records with Brasil 66. Mendes successfully walked a fine line between international and domestic audiences for most of the late 60s until the end of the decade. Ye-Me-Le was notably less successful than its predecessors, and its single Wichita Lineman was only a minor hit. Mendes seemed to lose his commercial edge with the turn of the decade, and his next two A&M albums: Stillness, a folk-based collection that contained covers of Joni Mitchells Chelsea Morning and Stephen Stills For What Its Worth, and Primal Roots, an album of traditional Brazilian music, failed to make any impression on the charts whatsoever.
The group moved to the much smaller Bell Records label in 1973, and then Mendes jumped to Elektra for his first official solo album, Sergio Mendes. He relaunched his recording career two years later with Sergio Mendes & Brasil 77 to little avail, and then, after a five year layoff from the public eye, Mendes returned to A&M in 1982. His 1983 comeback album, Sergio Mendes, was his first Top 40 album in nearly a decade and a half, and was accompanied by his biggest chart single ever, Never Gonna Let You Go, which hit number four. Since then, Mendes has had limited chart success with the single Alibis and the LP Confetti. He remained a popular figure internationally, even when his record sales slumped in America, as evidenced by the fact that his entire A&M catalog (and much of his Atlantic work) from the 60s has been reissued on CD in Japan. Indeed, his popularity in the rest of the world, versus America, was even the basis for a comic vignette in one episode of the television series Seinfeld.
During the 90s, Mendes performed with a new group, Brasil 99, and more recently, Brasil 2000, and has been integrating the sounds of Bahian hip-hop into his music. In 1997, A&Ms British division released a remastered double-CD set of the best of Mendes music from his first seven years on the label. Most of Mendes back catalog was reissued as the 21st century dawned, and in 2006 Concord Records released Timeless, his first album of newly recorded material in eight years.