Mendes is married to Gracinha Leporace who regularly performs vocals for her husband and can also be heard on his 2006 version of the song Mas Que Nada with the Black Eyed Peas.
Early career
The child of a physician in Niterói, Brazil, Mendes attended the local conservatory with hopes of becoming a classical pianist. As his interest in jazz grew, he started playing in nightclubs in the late-1950s just as bossa nova, a jazz-inflected derivative of samba, was taking off. Mendes played with Antônio Carlos Jobim (whom he regarded as a mentor) and many U.S. jazz musicians who toured Brazil.
Mendes formed the Sexteto Bossa Rio and recorded Dance Moderno in 196. Touring Europe and the United States, Mendes recorded albums with Cannonball Adderley and Herbie Mann and played Carnegie Hall. Mendes moved to the U.S. in 1964 and cut two albums under the name Sergio Mendes and Brasil '65 with Capitol Records and Atlantic Records.
Brasil '66
When sales were tepid, he replaced his Brazilian born vocalist Wanda de Sa with the distinctive voice of Chicago native Lani Hall (who learned Mendes' Portuguese material phonetically), switched to Herb Alpert's A&M label, and released Herb Alpert Presents Sergio Mendes and Brasil '66, an album that went platinum based largely on the success of the single "Mas Que Nada" (a Jorge Ben cover) and the personal support of Alpert, with whom Mendes toured regularly.
The original lineup of Sérgio Mendes & Brasil '66 was Mendes (piano), vocalists Lani Hall and Janis Hansen, Bob Matthews (bass), Jose Soares (percussion), and Joao Palma (drums). John Pisano guested as guitarist. This lineup recorded three albums between 1966-1968 (including the best-selling Look Around LP), before there was a major personnel change for their fourth album Fool on the Hill.
Karen Philipp replaced Hansen as the second female vocalist, while veteran drummer Dom Um Romão teamed with Rubens Bassini to assume percussionist duties. Sebastiao Neto was the new bassist and Oscar Castro-Neves the guitarist. This lineup had a more orchestral and big band sound than their predecessors. Most significantly, in the early 1970s, lead singer Hall pursued a solo career and became Alpert's second wife. Some accounts claim that Mendes was upset with Alpert for years for "stealing" Hall away from his group.
Though his early singles with Brasil '66 (most notably "Mas Que Nada") met with some success, Mendes really burst into mainstream prominence when he performed the Oscar-nominated Burt Bacharach and Hal David song The Look of Love on the Academy Awards telecast in April 1968. Brasil '66's version of the song quickly shot into the top 10, peaking at #4, and eclipsing Dusty Springfield's version from the soundtrack of the movie, Casino Royale. Mendes spent the rest of 1968 enjoying consecutive top 10 and top 20 hits with his follow-up singles, "The Fool on the Hill" and "Scarborough Fair". From 1968 on, Mendes was arguably the biggest Brazilian star in the world, enjoying immense popularity worldwide and performing in venues as varied as stadium arenas and the White House, where he gave concerts for both Presidents Lyndon B. Johnson and Richard Nixon.
Middle career
Mendes' career in the U.S. stalled in the mid-1970s, but he remained very popular in South America and Japan. His two albums with Bell Records in 1973 and 1974, followed by several for Elektra from 1975 on, found Mendes continuing to mine the best in American pop music and post-bossa writers of his native Brazil, while forging new directions in soul with collaborators like Stevie Wonder, who wrote Mendes' R&B-inflected minor hit, "The Real Thing".
In 1983, he rejoined Alpert's A&M records and enjoyed huge success with a self-titled album and several follow-up albums, all of which received considerable adult contemporary airplay with charting singles. "Never Gonna Let You Go", featuring vocals by Joe Pizzulo and Leza Miller, equalled the success of his 1968 single "The Look of Love" by reaching #4 on the Billboard Hot 100 chart; it also spent four weeks atop the Billboard adult contemporary chart. In 1984, Mendes worked with singer Lani Hall again.
By the time Mendes released his Grammy-winning Elektra album Brasileiro in 1992, he was the undisputed master of pop-inflected Brazilian jazz. The late-1990s lounge music revival brought retrospection and respect to Mendes' oeuvre, particularly the classic Brasil '66 albums. His stature in his native Brazil is reflected by "Cantor de Mambo", a song by fellow Brazilians Os Mutantes, which they regularly dedicate to Mendes in concert.
Later career
Timeless features a wide array of neo-soul and alternative hip hop guest artists, most prominently will.i.am and the Black Eyed Peas. It was released February 14, 2006 by Concord Records.
The album features the Black Eyed Peas, Erykah Badu, Black Thought, Chali 2na of Jurassic 5, India.Arie, John Legend, Justin Timberlake, Q-Tip, Stevie Wonder and Pharoahe Monch.
The 2006 re-recorded version of "Mas que Nada" with the Black Eyed Peas had additional vocals by Gracinha Leporace (Mendes' wife); a version that is included on his album Timeless. In Brazil, the song is pretty well-known for being the theme song for the local television channel Globo's Estrelas.
The Black Eyed Peas' version also contains a sample of their 2004 hit "Hey Mama". The re-recorded song became popular on many European charts. On the UK Singles Chart, the song entered at #29 and rose to and peaked at #6 on its second week on the chart.
Official website of Sérgio Mendes: http://www.sergiomendesmusic.com
Lua Soberana
Sérgio Mendes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ilê iê ilá aiá
Aia ai caria ila aia
Ilê ilê ilá
Essa lua soberana
Sobre as águas de Iemanjá
Ilê ilê ilá
Veio de Madagascar
Ilê ilê ilá
Essa lua soberana
Sobre as águas de Iemanjá
Ilê ilê ilá
Neste mar de rosa branca
Essa lua veio a Salvador
Arrastada por um pescador
Ilha das marés
Mestre de afoxés
Filho de Olodum
Filho de Olodum
Veio de Madagascar
Ilê ilê ilá
Essa lua soberana
Sobre as águas de Iemanjá
Ilê ilê ilá
Neste mar de rosa branca
Essa lua veio a Salvador
Arrastada por um pescador
Ilha das marés
Mestre de afoxés
Filho de Olodum
Filho de Olodum
Aiá aiá cariá
Ilê iê ilá aiá
The lyrics of Sérgio Mendes's song Lua Soberana speak of a powerful and majestic moon that reigns over the waters of Iemanjá, the African-Brazilian goddess of the sea. The moon is described as being "soberana" or sovereign, emphasizing its regal and authoritative presence. The mention of Madagascar adds to the mystique of the moon, as if it came from a faraway land to rule over the waters of the Atlantic coast of Brazil. The moon's arrival in Salvador, the capital of the state of Bahia, is linked to a fisherman who appears to have discovered or caught it.
The chorus of the song repeats the phrase "Ilê ilê ilá," which is a chant used in Afro-Brazilian religious ceremonies to call upon the spirits of the ancestors. The repetition of this chant, along with the mention of Iemanjá and Olodum (a famous Afro-Brazilian cultural group), suggest a connection to the traditions and rituals of Candomblé, an Afro-Brazilian religion that emerged in Bahia during the colonial period. The song thus celebrates the cultural richness and diversity of Brazil, highlighting the African roots that have shaped its music and spirituality.
Line by Line Meaning
Aiá ai caria
A joyful exclamation or chant, likely used in a celebratory setting.
Ilê iê ilá aiá
A rhythmic interjection or chant, possibly used in religious or cultural ceremonies.
Aia ai caria ila aia
Another joyful exclamation or chant, similar in nature to the first line.
Essa lua soberana
This sovereign moon, referring to the full moon's powerful presence.
Sobre as águas de Iemanjá
Above the waters of Iemanjá, the Afro-Brazilian goddess of the sea and fertility.
Neste mar de rosa branca
In this sea of white roses, symbolizing purity and peace.
Veio de Madagascar
Came from Madagascar, an island country known for its biodiversity and culture.
Essa lua veio a Salvador
This moon came to Salvador, a coastal city in Brazil with a rich cultural heritage.
Arrastada por um pescador
Dragged by a fisherman, suggesting that the moon's arrival was unexpected or accidental.
Ilha das marés
Island of tides, possibly a reference to the geography of Salvador or Madagascar.
Mestre de afoxés
Master of afoxés, a type of Afro-Brazilian music and dance tradition.
Filho de Olodum
Child of Olodum, a popular music and cultural group from Salvador.
Contributed by Jackson W. Suggest a correction in the comments below.
Luyz Paulo
Lua Soberana
Backing Vocals – Carolina Saboia, Kevyn Lettau, Vivian Manso*
Bass – Nathan East
Drums – Jeff Porcaro
Guitar – Paul Jackson Jr.
Keyboards, Synthesizer – Robbie Buchanan
Lead Vocals, Backing Vocals – Gracinha Leporace
Lyrics By – Victor Martins*
Music By – Ivan Lins
Percussion – Luis Conte
Marli Rose
Saudades dessa época em que eu assistia essa novela linda, e parece que eu tava até lá rsrs... saudades do meu pai que não perdia um capítulo. Saudades do meu tempo de criança. ❤❤❤❤
Mauricio Marrochi
O lançamento de Renascer no Globoplay me trouxe aqui... Que música!!! Época em que se faziam excelentes trilhas sonoras de novelas. As músicas pareciam se encaixar nas tramas e se identificar com as personagens.
Babii de Oliveira
Musiquinhas chiclete :v estou começando a maratonar Renascer também :)
Marli Rose
Novela linda e bem feita.
Julieta Vasquez
En Chile se usaban muchísimo también en las novelas, sucupira, oro verde, etc 😍🙌
Eder James
Adoro essa música, saudades dessa época
Alvaro Javier
La oí por primera vez en 1991 si bien la encontre bonita, no me llamó más la atención el temaby no la valore debidamente. Y hace poco la reencontré y ahora poseo la madurez suficiente para considerarla una poesía viva, orgánica, vivida y latente que insinúa un bosque húmedo luego de la lluvia; atardecer húmedo con un sol refulgente y horizonte de puesta de sol inundando con su atardecer y las sombras de la tarde y la humedad de la lluvia tropical.... Que tema más hermoso que gozó experimento con esta cancion
german careaga careaga
me hace volar, al son magico de sus notas puras organicas vivas viendo a Lemanja al fondo imagino una caleta de pescadores saliendo a la pesca en la madrugada, el cielo semi despejado, luego de la tormenta bajo una luna soberana. gracias Odonium
Roberta Finocchiaro
Thanks to This song I fell in love with music when I was a child ❤
Cleu Santanna
Linda demais.