DOM SALVADOR Vinyl & CDs

Review: Dom Salvador's 1969 album is pure Brazilian jazz magic. This piano maestro effortlessly fuses samba, bossa nova and hard bop into one smooth and moving groove. Tracks like 'Samba do Malandrinho' and 'Tio Macro' show off his slick chops and inventive style as he mixes tight rhythms with wild improvisation. It's a vivid trip to somewhere Brazilian heat meets American jazz cool. Fresh, funky and full of soul, Dom Salvador isn't just playing music here, he's rewriting the rules of jazz fusion, which is why this record is a classic of its genre and a vital reissue.

Review: The landmark first album by Dom Salvador released in 1969. Exemplary of Salvador's characteristic blend of Brazilian rhythms and American jazz influences, the album flaunts a mix of samba, bossa nova and hard bop, highlighting Salvador's innovative approach and technical prowess. A bright and redolent sound wafts from the likes of 'Cantinflas' and 'O Rio', which build and burgeon as danceable motifs that would work equally as well for montage or opening sequences in film. Elsewhere, the more freeform rhapsodies like 'Pais Tropical' hear Salvador's piano in full sway.

Review: Brazilian pianist and composer Dom Salvador returns with seven new tracks produced by Adrian Younge and Ali Shaheed Muhammad, continuing his long-standing dialogue between Brazilian rhythms and US soul-jazz traditions. The instrumentation stays rooted in acoustic textures, with arrangements that favour clarity and space over density. 'Os Ancestrais' opens with subtle rhythmic shifts and melodic restraint, while 'Nao Podemos O Amor Parar' and 'Debaixo da Ponte' lean more heavily into samba-inflected grooves. 'As Estacoes' slows the tempo, foregrounding piano against light percussion. 'Musica Faz Parte de Mim' and 'Minha Melanina' follow with slightly fuller arrangements, adding layered vocals and more defined harmonic movement. Closer 'Safira' finishes with a looping melodic figure, understated and tightly resolved. The production remains transparent throughout i clean without sounding polished, allowing Salvador's phrasing and compositional style to remain front and centre. It's a concise set that doesn't aim to update or reframe his legacy but simply to continue it on his own terms.