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Sérgio Mendes, Brazilian band leader who helped popularize bossa nova, dies at 83

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Sérgio Mendes, Brazilian band leader who helped popularize bossa nova, dies at 83

As a seasoned movie critic with a penchant for melodies that transcend borders, I find myself deeply saddened by the passing of the legendary Sérgio Mendes, a man whose music has graced my ears and countless others for over six decades. Born in the vibrant heart of Brazil, Mendes was no ordinary pianist; he was the mastermind behind the bossa nova revolution that swept the world in the 60s, blending Brazilian samba with American jazz to create a sound that was truly unique and timeless.

Legendary Brazilian pianist and bossa nova pioneer, Sérgio Mendes, known for introducing the genre to global audiences during the ’60s through collaborations with artists like Herb Alpert and Frank Sinatra, has sadly passed away.

On Thursday in Los Angeles, the renowned musician passed away peacefully, surrounded by his wife Gracinha Leporace Mendes and their children, as reported by his family in a statement made public to The Times. He had reached the age of 83.

The statement did not reveal a cause of death but said the singer’s health “had been challenged by the effects of long term COVID.” Mendes “leaves us with an incredible musical legacy from more than six decades of a unique sound,” the family said.

Mendes garnered international recognition not only as a solo performer but also as a band member in ensembles such as Brasil ’66 and through cross-genre collaborations.

1941 saw the birth of a renowned pianist in Niterói, just outside Rio de Janeiro. He gained popularity in the vibrant nightlife scene of Rio’s Beco das Garrafas (Alley of Bottles), a collection of establishments where artists pioneered the new genre of bossa nova while enduring occasional bottle-throwing from disgruntled neighbors during lively parties. This genre was a fusion of Brazilian samba beats with American jazz tones. Accompanied by contemporaries such as composer Antônio Carlos Jobim, singer-guitarist João Gilberto, lyricist Vinícius de Moraes, and guitarist Roberto Menescal, the music encapsulated Rio’s seductive beach atmosphere and the youthful optimism of the late ’50s and early ’60s. This unique sound was beautifully portrayed in the 1959 film “Black Orpheus.

In 1961, Mendes produced his debut solo album titled “Dance Moderno”. This album was a fusion of jazz covers from Duke Ellington and Cole Porter, as well as original Brazilian compositions by Jobim and Gilberto. Following this, he embarked on tours across the U.S., eventually performing at an influential concert in 1962 at Carnegie Hall, New York. This performance introduced bossa nova to American audiences for the first time, helping the movement gain global popularity. Iconic hits like “The Girl From Ipanema”, a collaboration between Gilberto and Stan Getz, were released in 1964, eventually becoming timeless jazz and pop classics.

Mendes collaborated with jazz artists such as Cannonball Adderly (on the 1963 album “Cannonball’s Bossa Nova”) and flautist Herbie Mann. He also joined forces with Atlantic Records under Nesuhi Ertegun, who was the brother of label owner Ahmet Ertegun.

1964’s military takeover in Brazil cast a shadow over the country’s destiny. During this time, Mendes relocated to Los Angeles and performed regularly at jazz venues such as Hollywood’s Shelly’s Manne-Hole.

In a 2021 interview with The Times, Mendes expressed his instant fondness for it. He appreciated it due to its tranquil environment, a stark contrast to New York’s stressfulness; it was laid-back. More importantly, he felt it reflected more about him. Things here seem to happen impulsively, which is characteristic of Hollywood, the music industry, and the enchanting city of Los Angeles.

With their group Sergio Mendes & Brasil ’65, he released albums through major labels, but none of them achieved significant sales. Following advice from A&M Records producer Richard Adler and with the support of Herb Alpert and Jerry Moss from the label, Mendes introduced female vocalists who performed in both English and Portuguese to his band. This revamped group, Brasil ’66, struck gold with “Mas Que Nada,” a song written by Jorge Ben Jor, helping popularize Brazilian music in the U.S., despite the songs being sung in Portuguese. As Mendes reflected, “People didn’t understand the lyrics, but it didn’t matter. It simply made people feel good.” The song peaked at number 47 on the Hot 100 and the album, “Herb Alpert Presents Sergio Mendes & Brasil ’66,” went platinum.

In 1967, the band’s album “Look Around” established a popular trend by combining self-written tracks with bossa nova adaptations of English tunes, such as “With a Little Help From My Friends” and “The Look of Love,” originally composed by Burt Bacharach and Hal David. Interestingly, Mendes sang “The Look of Love” at the Oscars in 1968. After experiencing significant lineup changes, Mendes and Brasil ’66’s fourth studio album, “Fool on the Hill,” produced two top 10 hits with renditions of Simon & Garfunkel’s “Scarborough Fair” and the Beatles’ title track (Mendes claimed Paul McCartney considered it his favorite cover version).

In the 1970s, he consistently produced a large amount of work, releasing over one album per year with new vocalist Gracinha Leporace, whom he later married, and a revamped band called Brasil ’77 performing songs by Leon Russell and Stevie Wonder. Mendes wrote Portuguese lyrics for “Bird of Beauty,” a song by Stevie Wonder on the 1983 self-titled album that became a significant mid-career success, reaching No. 4 on the Hot 100 chart with the hit single “Never Gonna Let You Go.” Barry Mann and Cynthia Weil wrote Mendes’ 1984 single “Olympia” for the 1984 L.A. Olympics.

1993 saw Brazilian musician Mendes clinch his sole Grammy for the album “Brasileiro,” which was awarded under the world music category and boasted the popular hit single “Magalenha,” penned by Carlinhos Brown. Following the resurgence of interest in his Brasil ’66 catalog due to the lounge-music and neo-soul trends during the late 90s and early 2000s, Mendes collaborated with Black Eyed Peas founder will.i.am on the 2006 album “Timeless.” This project showcased vocals from contemporary soul artists like Erykah Badu, Jill Scott, India.Arie, John Legend, Stevie Wonder, and Justin Timberlake.

In an interview, Mendes expressed his fondness for ‘change,’ stating that collaborating on an album with Cannonball was creatively stimulating for him, and working with Will offers a similar exciting challenge.

In 2012, Sérgio Mendes garnered two Latin Grammy awards and an Oscar nomination for the theme song “Real in Rio,” from the animated movie “Rio.” Additionally, he was the focus of a heartfelt documentary titled “Sérgio Mendes: In the Key of Joy” that same year. This film saw artists like Legend and Quincy Jones praising his influence on both Latin and popular music. Coincidentally, his album “In the Key of Joy” also dropped in 2020.

Recently, Sergio Mendes concluded his last performances in November 2023 across Paris, London, and Barcelona. In an online tribute, Ahmet Ertegun, label boss at A&M Records and renowned jazz artist Alpert, expressed his deep affection saying, “Sergio Mendes was more than just a fellow countryman; he was my brother from another land…He was a loyal friend and an exceptionally talented musician who beautifully shared Brazilian music in all its forms with the world, bringing it to everyone with grace and happiness.

Mendes is mourned by Leporace, his devoted wife, along with their two sons, Tiago Mendes and Gustavo Mendes, as well as his three children from a previous marriage – Bernardo, Rodrigo, and Isabella Mendes. The family is currently dealing with this sorrowful event, and further information about the funeral and memorial services will be shared later on. According to their statement, these details will be disclosed at a future time.

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2024-09-07 14:23

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