In May 1965, Elis Regina and Jair Rodrigues began hosting a weekly show at TV Record (São Paulo), O Fino Da Bossa. At the same time, they opened a show at the Teatro Paramount, in the same city, which was recorded live. The LP Dois Na Bossa (Philips) was a national best-seller. They repeated the accomplishment in 1966 (Dois Na Bossa, No. 2) and again in 1967 with this album. The atmosphere was clearly dominated by the fact that Brazil was under a severe military dictatorship -- Regina's passionate addresses to the audiences ...
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In May 1965, Elis Regina and Jair Rodrigues began hosting a weekly show at TV Record (São Paulo), O Fino Da Bossa. At the same time, they opened a show at the Teatro Paramount, in the same city, which was recorded live. The LP Dois Na Bossa (Philips) was a national best-seller. They repeated the accomplishment in 1966 (Dois Na Bossa, No. 2) and again in 1967 with this album. The atmosphere was clearly dominated by the fact that Brazil was under a severe military dictatorship -- Regina's passionate addresses to the audiences and her choice of repertoire ("Marcha Da Quarta-Feira de Cinzas" can be read in this context even if it was written before 1964) contrasts with Rodrigues' silence in that respect. As in all three albums, together they cover a medley of sambas along with solo performances. The album is not a typical bossa album, despite what the title indicates. It is more of a samba release, with strong influences of bossa in harmonies and arrangements, but with the stronger, hotter grip of the samba groove. The section dedicated to bossa is a romantic medley shared by both artists. ~ Alvaro Neder, Rovi
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