Isabelle Antena – Hoping For Love, 1987

One of my favorites, so much so that I’m confused why I haven’t posted this already. If you’re unfamiliar, Isabelle Antena is a French pop and jazz musician and composer, who began making music with her band Antena (whose highly influential Camino del Sol was one of the first records I ever posted here!). She went on to be a highly prolific solo artist, gaining a huge following in Japan–which makes sense aesthetically, as I think her sound very much anticipated Shibuya-kei. In fact, I grew up listening to Isabelle Antena because my dad heard the maddening “Quand Le Jazz Entre En Lice” in a hair salon in Tokyo, where my family was living at the time, and took it home to my mom, who got hooked on it. A lot of her live performances on YouTube were shot in Japan, like this particular gem.

Hoping For Love is jazzier than its excellent predecessor, En Cavale, but it has all the prowess you’d expect from Isabelle Antena, who wrote, arranged, and produced this record. Here she flits easily between Latin, samba, bossa nova, funk, and synth pop, with a few of her signature bass-driven dance floor twirlers like “Laying On The Sofa” and “Sweet Boy,” the latter of which I often catch myself singing to my dog. While it’s still strongly reminiscent of contemporaries like Sade and Linda di Franco, it’s fully her own world, spending most of the record’s second half squarely in the realm of acoustic jazz to terrific effects. Such a special, masterful record–I hope you love it as much as I do.

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Kid Creole & The Coconuts – Tropical Gangsters, 1982

For fans of The Coconuts who haven’t yet dug into their origin story, this is an excellent place to start. Kid Creole was the brainchild of August Darnell, a Bronx-born composer and an absolute genius with big band sounds, Latin jazz textures, and cuttingly clever lyrics; The Coconuts were the band’s trio of backing singers. It was difficult to choose between Tropical Gangsters and their excellent 1981 release, Fresh Fruit in Foreign Places, but this record includes some of my favorite singles from the group, including the stupidly good “Annie I’m Not Your Daddy,” previewed below. Elsewhere, find stomping, four-on-the-floor disco (“I’m A Wonderful Thing, Baby”), samba-funk breezer “I’m Corrupt,” and closer “No Fish Today,” a smirking account of class struggle cleverly packaged as a breezy tropical funk sailboat soundtrack. Steel drums, lush string arrangements, irresistible percussion, and an omnipresent sense of humor, this is ideal May listening.

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Di Melo – Di Melo, 1975

Following in the steps of Jorge Ben, who began incorporating elements of funk and soul into samba music in the early 60s (eventually creating whole new genres that became integral to Brazil’s Black Movement), Roberto Santos (aka Di Melo, “tell me”) didn’t enjoy the international name recognition that many of his more prolific peers did. Perhaps it’s because until 2016, Di Melo was his only full-length release. Still, if the measly two copies of the record currently available on Discogs with a starting price of $732.56 are any indication, the record has since attained its well-deserved holy grail status.

Santos was born in the Pernambuco region of Northeastern Brazil, moved to São Paolo in the late 60s, and was signed to EMI/Odeon in 1974. Other than that, I haven’t found much information about him, and it’s not totally clear why he didn’t continue to release music on the heels of Di Melo, as he’s written more than 400 unpublished songs. From what I gather, he was in a severe motorcycle accident in the 80s that almost left him a paraplegic, after which there were widespread rumors that he had not survived, which might have contributed to his long hiatus. There’s a short documentary about him here from 2011–though it doesn’t have English subtitles, it’s well worth flitting through even for non-Portuguese speakers for its amazing archival footage, as well as some beautiful contemporary footage of him serenading his small daughter in their kitchen.

Sonically, Di Melo is rich and complex, effortlessly winding between funk, samba, tango, jazz, soul, and regional folk. Hermeto Pascoal (!) contributes, though it’s not clear in what capacity. Eight of the twelve tracks are original compositions. It’s a wildly ambitious debut effort, and, as seems to often be the case with Brazilian musical wunderkinds, it succeeds at all of its efforts. I’m far from an expert on Brazilian music, so rather than make uninformed statements, I’ll encourage you to listen to it–it’s a pleasure from the enthusiastically syncopated, brutally grooving opener “Kilariô” (which, as I understand it, was the biggest hit at the time of Di Melo‘s release) all the way to the sunny, cowbell-flecked cakewalk closer “Indecisão.” In between, the unbothered, sinewy “Se O Mundo Acabasse En Mel” (previewed below) is my personal favorite. Ideal warm weather listening.

Thank you Silva for the reminder about this terrific record!

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