Sergio Mendes and Brasil '66
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A&M Records SP 4116

Mais Que Nada
One Note Samba/Spanish Flea
The Joker
Going Out of My Head
Tim Dom Dom

Agua de Beber
Slow Hot Wind
O Pato

It's good that Brasil '66 has succeeded, because it confirms one's belief that, musically,
these are fluid times, with more openings than ever before for contemporary creative
endeavor. I cannot see how substantial international achievement can elude this group
who have marketed, with considerable taste, a delicately-mixed blend of pianistic jazz,
subtle Latin nuances, Lennon-McCartneyisms, some Mancini, here and there a touch of
Bacharach, cool, minor chords, danceable up-beat, gentle laughter and a little sex.

As I say, if the market will support this unabashed form of pop hybrid, then light music
has indeed grown up and become very strong and healthy.

To put you in the picture — as Beryl Blood once said in a rare flash of wit — Brasil '66
is the name applied with astute euphonic accuracy to the four-man, two-girl
entertainment unit which was consciously created, deliberately disciplined, and beyond
doubt was bound to become beautiful and famous and rich and all of the things for
which mortals have, since two wood clubs and a monkey-skin bought one stone
axehead, been engaged in a ceaseless, relentless quest. The 'Brasil' of the title was
selected because the group was established in Ipanema and '66, as you've guessed, is
the year of the unit's creation.

The story of Brasil '66 actually began a few years ago, in Ipanema when Sergio
Mendes, a conspicuous and talented young pianist on the Bossa Nova scene, had
formed a quintet and as his travels in North America increased, he began to dig the
new, healthy U.S./Latin musical fusion of Getz and he was sufficiently motivated by
musical instincts and money to set about making danceable, hummable, singable,
melodic jazz-Brazil-pop go to work for him.

At the end of 1964, he left Brazil and with a young New York lawyer named Richard
Adler as manager, he set up the group which became known as Brasil '65. Through
personnel changes and tireless experimentation, he arrived at what he now believes to
be the ideal combination of vocal and instrumental power, without bias in either

By spring of 1966 they were ready for much work. Adler and Mendes diffidently asked
A&M to look them over and the record company's enthusiasm was boundless. Herb
Alpert took them on tour with him and though Alpert's generous personal and publicized
approval of Brasil '66 has been of incalculable value to the group, it emerged that
Brasil '66 were certain, clear and critically-appraised artists in their own separate right.
A Memphis journalist wrote: "Look for this group to climb from under Alpert's shadow
into a spotlight all their own."

As I never try to better quotes from Memphis journalists, here, abruptly, is where the
liner notes end.

Derek Taylor

Among the many pleasure in the record business is the reward of finding new and
exciting talent.

One afternoon recently, a friend of mine called to ask if I wanted to hear a new group.
From the first note I was grinning like a kid who'd just found a new toy.  The group is
headed by an amazingly talented piano playing arranger...Sergio Mendes.

Since that time, Sergio and I have become good friends.  I know you'll enjoy them as
much as I do.  It is with pride that I present Sergio Mendes & Brasil '66.

Herb Alpert

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