Sergio Mendes, The pianist who gave the world its most famous version of the Brazilian classic “Mas Que Nada” died Thursday. Born in 1941, Mendes was a 20-year-old musician when he first arrived in the United States to perform at a historic Carnegie Hall concert that brought several bossa nova legends to New York in 1962. Two years after the show, Mendes moved to Los Angeles and never left the United States. He never abandoned Brazilian music, however, becoming one of the world’s most important ambassadors for bossa nova and samba.
Born in Niterói, across the bay from Rio, Mendes began playing piano professionally at the age of 16. He was fascinated by jazz legends like Art Tatum and Duke Ellington, and found his place in the emerging bossa nova wave that swept through Rio’s hip-hop clubs in the late 1950s. Tom Jobim and Jorge Ben Jor were among the artists he befriended during that period, and those musical connections would last his entire life.
In the United States, the pianist expanded the scope of Brazilian music beyond bossa nova, building relationships over decades and introducing new sounds. Mendes experimented with jazz, funk, orchestral opera and even pop, as evidenced by his collaboration with the Black Eyed Peas in 2006 (a new version of his hugely popular song “Mas Que Nada” topped the charts again). With his distinctive style as a musician and arranger, the maestro has released more than 35 albums in his 60-year career. Here are songs that highlight key moments in his life.
“Modern Dance” (1962)
With his first album, Mendes introduced himself to the world at the age of twenty, bringing with him the credentials that would make his name shine for six decades. modern dance This work is a tribute to the pianists and bandleaders who shaped his early years in music; it also pays tribute to stars from Brazil and the United States, including Johnny Alf and Cole Porter, the composer of “Love for Sale.” In Mendes’ hands and arrangement, the famous foxtrot is reborn as a sultry Latin jam, its main phrase transforming from energetic punch to calm flow in the blink of an eye.
“Unless There's Nothing” (1963)
A few months after arriving in the United States, Mendez was invited to release an album under the Herb Alpert Series, the American trumpeter’s label that focused on emerging jazz sounds. Mendez chose to open the album with “Mas Que Nada.” Little did he know that the song, written by his then-young musician colleague Jorge Ben Jor, would become his ticket to the forefront of the music scene. With impeccable rhythm, high-pitched strings, and gentle caressing of the lower registers, Mendez delivered a master class in Brazilian-style samba jazz. The lyrics were in Portuguese, but even another language was no obstacle to reaching the top of the charts. Mendez swings the keys so hard that audiences around the world can’t help but fall in love with the song.
“Batida Differenti” (1964)
“Batida Diferente” means “Different Rhythm,” a title that perfectly fits bossa nova (“new wave”) music. Tom Jobim encouraged Mendes to pursue his own unique piano style, a blend of samba and jazz with a foundation of classical techniques. And that’s exactly what Mendes delivers on this song. He finds elegant solutions to the rhythmic constructions and shifts and the intricate handwork, whether emphasizing long melodic phrases or rhythmic steps. In addition, Mendes shows his leadership by letting flautist Hubert Luz shine, knowing exactly when to step aside, as any great bandleader would.
“My Favorite Things” (1968)
By 1968, “My Favorite Things” had already become a staple of the American songbook, due to its appearance in Sound of music John Coltrane’s song of the same name was featured on his 1961 album. Using this Rodgers and Hammerstein song as the album’s main theme was no small challenge—and Mendes knew he could do it. Together with his band, he reshaped the song into a slick Latin ballad, blending elements of early salsa with a touch of the fun that would come to define the 1970s. This version reveals a Mendes who began to push the boundaries of bossa nova, embracing the American pop scene.
“Song Without Regret” (1969)
Although Mendes has made his place in music history as a pianist known for his compelling compositions that bridge pop, jazz, Brazilian and American music, he was also a skilled arranger and a creative composer. He masterfully balances these roles in “Song Without Remorse,” a majestic, serene piece centered around Lanny Hall’s deep, soulful vocals. Through different sections, Mendes unfolds a quiet, beautiful musical dream, aided by an orchestra, while barely touching a piano.
“The Groan” (1969)
By the late 1960s, Mendes had established himself in the United States, interacting with artists who were expanding jazz into pop territory and an industry hungry for radio-friendly formats. Ye-me-lee His response to this environment is: Mendes embraces the easy listening trend while maintaining his distinctive identity on the keys. His performance of “Moanin’” embodies this approach in elegant style. He reinvents one of Art Blakey’s most famous standards into a lively, upbeat Latin jazz jam at the intersection of bebop and proto-AOR.
“Tu Volando” (1979)
After years of promoting Brazilian music internationally, Mendes has turned his attention back to his homeland with open horizonWhile this album may not be his most creative, it highlights a musician who never lost touch with his roots and his people. Simone’s 1979 song “Tô Voltando” (“I Will Return”) quickly became an anthem for Brazilian artists forced to flee the country during the military coup of the 1960s. In his version, the pianist and his band blend in a passionate samba that resonates deeply with the nostalgia of those forced to leave.
“I'll Never Let You Go” (1983)
Described by music producer Rick Beato as “the most complex pop song ever,” “Never Gonna Let You Go” is a dazzling showcase of Mendes’ talent for crafting accessible, catchy radio hits. His tweaking of upbeat and tense chords, and his exploration of unconventional ways beyond the typical bridge and pre-chorus arrangements, is impressive and perfectly reflects the song’s lyrical subject matter, which revolves around a couple on the verge of breaking up. The result was a chart-topping track in both the United States and Brazil, where it was the soundtrack to the TV series Final Velez.
“Magalinha” (1992)
Brazil Mendes won his first Grammy for Best World Music Recording. The win came for the single “Magalenha,” a rhythm-heavy samba-reggae piece by Carlinhos Brown of Bahia. As Mendes recalled in an interview, Brown called him at 2:30 p.m. “I made a song for you,” he said. Mendes later teamed up with Brown in Salvador to record the song, which over the years has become a signature “Made in Brazil” sound. It resonates with Brazilian audiences but explodes with green and yellow energy on the international stage.
“Samba da Penção” (2006)
From the late 1990s through the 2000s, Mendes was rediscovered by younger audiences, collectors, and emerging artists. The likes of William.i.am and Erykah Badu found in the maestro a direct link to Brazilian music, a connection that led to ImmortalThe 2006 album features a star-studded roster from the United States and Brazil. With Rio rapper Marcelo D2, Mendes delivers a hip-hop remake of “Samba da Benção,” a classic song written by guitarist Baden-Powell and poet Vinicius de Moraes.
