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Downloaded from
YTS.MX

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Official YIFY movies site:
YTS.MX

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[playing]

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There’s a word in English
that I love: "serendipity."
That’s the story of my life.

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Sérgio did the, he did
the gumbo, put the gumbo
together. And, uh, it worked.

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He’s a translator.

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He’s tran...
He translated something

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that was going on in Brazil
to the whole world.

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He’s able to, um, span the
generations by collaborating

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with new artists and,
and up and coming artists.

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That sound was unique
in the ’60s in the ’70s
in the ’80s in the ’90s.

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It’s still unique.

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♪ His name is Sérgio
And he rockin’ the sound ♪

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♪ He on your radio
And he throwin’ it down ♪

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Some artists are just doing
it for the love the art,

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and I think that’s
what Sérgio does.

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[Common]
♪ Yo, make the music ♪

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♪ With the sound and get busy ♪

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♪ Everybody out there
Yo, get with me ♪

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♪ We goin’ from Brazil
To Chi-City ♪

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♪ I know we got a whole
Lot of committee ♪

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♪ This is how it be
When get the sounds ♪

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♪ Yo, like pocket of oil
I get around ♪

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I’m here because I
love Sérgio Mendes.

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Common comes in
and it’s all spontaneous.

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It was nothing written.
There’s no lyrics on the chant.

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He provides his rap all
the way from the beginning.

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♪ That’s the most high ♪

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♪ Rio De Janeiro is close by ♪

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♪ I keep a close eye on
The sound piano ♪

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♪ When it come to this
Y’all could just handle ♪

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♪ When we go down ♪

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It’s called the flavor of Rio.
It’s about Brazil.

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It’s about a party,
let’s all get together,
actually enjoy life and...

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- Yeah.
- You know, Brazil,
Samba, Africa,

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- that whole reunion
of cultures.
- Yeah.

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Getting to do this with Sérgio
is really kind of fun

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but it’s, it’s also like,
uh, it was scary.

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You know, is it at the level
that I would write at?

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We both wanted to achieve
a vibration, a feeling,

41
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so I was free to be
in a freestyle on this
and it’s one of the, you know,

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few times that
I recorded freestyle.

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♪ Never wrote this
But it’s all cool ♪

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This is what we do.
The rules.

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It was like listening
to a great jazz musician,

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the improvisational
aspect of what he does.

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He as rhythmically talking,

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and his conversation
had a flavor, had soul.

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Yeah.

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Sabor do Rio.

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Here we come.
Let the drumma.

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I approached it like, hey,
I’m one of the instruments

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and let the music guide
some of the rhythms,

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that’s the, you know, and let
what naturally comes out.

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[Sérgio]
The chant, the melody, the rap,
the rhythms, the percussion

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is like, you know,
makes you feel great.

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You wanna dance, you wanna
cry, you wanna hug.

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[Common]
It’s always a blessing to
roll with one of the giants,

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roll with somebody who is a
legend and create with them.

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When I look back I wanna
be like man, I did something
with Sérgio Mendes.

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I remember that day.

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But it’s all cool.

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This is what we do.
The rules.

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[both laugh]

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I like that.

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[Sérgio] Niteroi, that’s where
I was born and that’s
where the adventure starts.

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Jose Augusto Mendes
was my grandfather,

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a good-looking black man.

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He was probably
a grandson of a slave.

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And on my mother’s side,
we had the Portuguese,
the colonizers.

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So Santos is my middle name.

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I think that mixture of
cultures in Brazil,

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we had the, the natives
and then we had the Portuguese

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that came and colonized Brazil.

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And then they brought
the slaves like they
did in United States,

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and I think that multi-culture
things that came to Brazil

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really gave something very
special to the culture.

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Here I am back on the street
that I used to live, uh,
between five years old

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and maybe 12 and, uh,
Rua Coordenador Queiros
is the name of the street,

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and I’m surprised
the building is still here.

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It’s called Santa Isabel,
which is Saint Isabel.

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And I used to live on
the third floor up there.

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I was in between
two and three years old
that I fell in the bathtub.

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Next day fever
so I went to the doctor

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and I was diagnosed
having osteomyelitis,
which is a bone disease.

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That kept me away from
the bicycle, the soccer,

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the swimming
and everything else.

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I was put in the cast
for three years.

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I was carried around and
hospitals and operations.

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You know, it was not easy.

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One of those coincidence
and serendipity and all that,

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penicillin was just
discovered in England,

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and because my father
was a doctor and he had friends,

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I was one of the first people
to take penicillin in Brazil

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and that took care of my leg
and cured the osteomyelitis.

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I remember the last time
I wear the cast,

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we went to a beach close
by here, Itacoatiara Beach,

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and we were like celebrating
finally my freedom,
I could walk,

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I could do my thing, yeah, but
that was very, very beautiful.

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And I have recollection of that
image on this beautiful rock

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and I had the cast
in my hand and we all threw
the cast on the ocean.

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But I cannot play ball
on the streets with the kids,
I cannot do this.

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You have to be careful
this thing may come back
da-da-da-da-da.

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My mother said to me,
she said, you know,
I’m gonna give you a piano,

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that music was gonna bring
me some peace and some,

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something to relate to it.

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And I start playing classical
piano, learning music.

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When I start playing,
you know, Chopin and Beethoven,

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and all those things I was
like, oh that feels great.

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I had a friend here
that had access to
the LPs from United States,

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which was very hard to
get those in those days,

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and we’ll get together
at his house and we’ll
start listening to jazz.

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And, uh, so I heard
this record one time.

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It was a Dave Brubeck record,
which I didn’t know,

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and I heard, uh, "Take Five."

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And I said, "Oh, man
what is this," you know?

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It was so great, and I was,
like, fascinated.

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We had like a little club
of guys listening to jazz,

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going to see those fantastic
movies like Kurosawa,

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Fellini, Godard, you know,
the great directors of,
you know, of the world,

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and reading books, and then
the painters in, you know,

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we’re like, it was almost
like the, the thirties in Paris,

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but was no Paris here,
but we’re living that.

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One of the painters that I fell
in love was, uh, Paul Gauguin.

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Of course his art and
beautiful paintings and,

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and he also fascinated
me, because the idea

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that he left France
to go to the Polynesia.

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So I had that fantasy, I said
one day I’m gonna leave Niteroi

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and maybe move to Rio and
to United States or somewhere.

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So I wrote a song,
my first song, called "Noanoa,"
inspired by Gauguin.

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I had a friend of mine
that was a great guitar player
and he had this band,

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and he asked me why don’t you
come and play piano, play for,
for people to dance, you know?

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Oh, it was great
’cause I was like
the youngest guy on the band,

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and I was like, I don’t
know, 18, 19, and we
did a lot of those balls,

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and clubs, in Niteroi
and private parties

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so it was like a dance band
that was my beginning.

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Growing up here in Niteroi,
most people you go to the beach

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and you only see Rio in front
of you, but it’s in front of
you, but it’s kind of distant,

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so there’s that attraction.

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It’s distant and it’s
Rio de Janeiro, it’s beautiful,

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and it’s the capital
and things are happening there,
not here. We gotta go there.

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I had a friend, and he was
a dentist and a piano player,

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which is great.

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[chuckles]
Yes.

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He called me, he said,
"Listen, I cannot do this gig.

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Can you cover for me for,
you know, the next week?"

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And I said, "Wow," you know?

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The first chance
to cross the bay

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and play in a club,
the Copacabana.

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00:13:03,867 --> 00:13:09,873
So that was my first,
uh, adventure, coming to
Rio to play in a nightclub.

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This is the first time
I’ve been back to the ferry for
a long time, it feels great.

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I mean, it’s nothing but
joy and, uh, to be here

153
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and it’s beautiful
weather today and
a little wind, but it’s okay.

154
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I’m very possessive of this hat.
I don’t want the hat
to fly here, I’m sorry.

155
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The ferry was like
taking me to Rio, taking me
to do what I love to do,

156
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which was to play music
with my friends

157
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so the ferry represents that,
you know, the freedom of
going and coming back.

158
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The bossa nova’s been hanging
around in this alley in
Copacabana for a long time,

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a new cult waiting
for some members.

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The tourists all walked
right by on their way to
the big nightclubs.

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That left this place,
the Bottles Bar, to the kids,

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the ones with the expressionless
faces and the understated
way of smoking a cigarette,

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but nice, romantic kids,
not at war with anybody,

164
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like the music
in the Bottles Bar.

165
00:14:54,769 --> 00:14:57,731
Well, behind me,
the Bottles Bar.

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That was the first place
that I played in Rio de Janeiro,
Copacabana in 1962.

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I had the trio, piano,
bass and drums.

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But every night the best
musicians, the composers,
the singers,

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would hang here,
would get together here
at the Bottles Bar.

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[Nelson] The Bottles Bar
used to have jam sessions

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00:15:23,840 --> 00:15:27,344
and Sérgio used to play
on this jam sessions,

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and, uh, we became friends,
and, uh, I became a follower

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of, uh, what Sérgio was
doing, playing bossa nova.

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Bossa nova in English means,
more or less like, uh, new wave.

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The beat of boss nova...

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[imitates bass guitar sounds]

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was invented by
João Gilberto in 1958,

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and was an explosion in
Brazil for the young people.

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What a fresh breath
of air that bossa nova was
when it came out,

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it’s just acoustic guitars
man and these beautiful
soft voices

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00:16:03,797 --> 00:16:06,508
’cause the music’s so strong
you don’t have to yell it.

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00:16:06,591 --> 00:16:08,677
So powerful, man.

183
00:16:08,760 --> 00:16:13,139
[imitates bass guitar sounds]

184
00:16:13,223 --> 00:16:16,351
I didn’t know much about
bossa nova as a kid.

185
00:16:16,434 --> 00:16:20,188
My gateway into it is Sérgio,
and I think he’s been a lot
of people’s gateway into it.

186
00:16:20,271 --> 00:16:26,319
First of all it is sensual.
It kind of takes you there,
you know?

187
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It, it makes you
feel that sensuality,

188
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the sexuality of, of Brazil,
the cool of Brazil.

189
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It’s kind of mellow
and it’s infectious.

190
00:16:36,287 --> 00:16:38,581
Part of the uniqueness
of Brazilian music
is the fact that,

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00:16:38,665 --> 00:16:42,711
I think, Brazil by itself,
it’s a very eclectic
mixed kind of country

192
00:16:42,794 --> 00:16:46,548
so I think music is part
of that melting pot.

193
00:16:46,631 --> 00:16:49,592
The African rhythms
to the European flavors,

194
00:16:49,676 --> 00:16:51,970
the indigenous sounds
and the percussion.

195
00:16:52,053 --> 00:16:58,184
The melting pot culture that we
carry in Brazil is this amazing,

196
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I would say like, uh, not
even a melting pot, like
a fruit salad of like flavors.

197
00:17:02,355 --> 00:17:05,150
If rock and roll is
like action movie music,

198
00:17:05,233 --> 00:17:09,362
like da-da-na-na-na and
funk is like sexy and like,

199
00:17:09,446 --> 00:17:13,074
and disco is like,
you know, let’s party,
forget about tomorrow,

200
00:17:13,158 --> 00:17:15,952
forget about yesterday
and let’s live right now,

201
00:17:16,036 --> 00:17:20,457
and hip-hop is like
braggadocios, rambunctiousness,

202
00:17:20,540 --> 00:17:25,462
then bossa nova is... gentle.

203
00:17:25,545 --> 00:17:27,797
It’s totally passionate music.

204
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It’s, it’s full of joy,
it’s full of life,

205
00:17:31,760 --> 00:17:33,762
it’s full of pain.

206
00:17:33,845 --> 00:17:37,515
Um, if you took all
of the, all of the
emotions in the world

207
00:17:37,599 --> 00:17:39,684
and put it one music,
it’s Brazilian music.

208
00:17:39,768 --> 00:17:43,146
Rock and roll wasn’t, uh,

209
00:17:43,229 --> 00:17:46,900
something fit for
the Copacabana, you know,

210
00:17:46,983 --> 00:17:53,531
all those black leathers
and, uh, knives and,
uh, the motorcycles.

211
00:17:53,615 --> 00:17:56,117
It didn’t fit in the beach, no.

212
00:17:56,201 --> 00:17:59,704
Black leathers? Oh, come on.
It’s too hot for this.

213
00:17:59,788 --> 00:18:02,874
And instead we found
in bossa nova,

214
00:18:02,957 --> 00:18:07,045
the soundtrack of our lives,
of the new generation.

215
00:18:07,128 --> 00:18:11,841
There was a very young producer.

216
00:18:11,925 --> 00:18:13,986
And he asked me, he said,
"Do you wanna make a record?"

217
00:18:14,010 --> 00:18:16,346
And I said,
"What, are you kidding? Yeah."

218
00:18:16,429 --> 00:18:21,476
So there was a studio
in downtown Rio, two tracks,

219
00:18:21,559 --> 00:18:23,853
and, uh, so I made
Dance Moderno there.

220
00:18:23,937 --> 00:18:28,817
Was, uh, piano,
bass, drums, trombone.
That was my first record.

221
00:18:34,364 --> 00:18:37,409
There’s a word in Portuguese,
called saudade.

222
00:18:37,492 --> 00:18:41,496
Saudade’s a beautiful
word in Portuguese.
It’s like to miss something,

223
00:18:41,579 --> 00:18:48,253
to miss somebody, and,
uh, it’s just... So I feel
saudade of those moments.

224
00:18:48,336 --> 00:18:54,592
1962, November, first
time I came to the
United States, to New York.

225
00:18:56,386 --> 00:18:59,597
Bossa nova was exploding
all over the world,

226
00:18:59,681 --> 00:19:02,350
and they had a bossa nova
concert at Carnegie Hall.

227
00:19:02,434 --> 00:19:06,104
And they invited me to bring
my band to New York.

228
00:19:10,942 --> 00:19:14,320
And here I am in New York
with Antonio Carlos Jobim,

229
00:19:14,404 --> 00:19:17,115
the most important
composer in Brazil.

230
00:19:17,198 --> 00:19:20,118
He was like our colporteur,
our Gershwin,

231
00:19:20,201 --> 00:19:24,706
my mentor, my teacher, friend,

232
00:19:24,789 --> 00:19:28,168
and then we go for rehearsal
in Carnegie Hall.

233
00:19:28,251 --> 00:19:33,340
I said, oh my, I can’t
believe I’m, you know, this
is like New York, Carnegie Hall.

234
00:19:33,423 --> 00:19:35,717
Just an amazing emotion.

235
00:19:35,800 --> 00:19:37,510
[Quincy]
Play Carnegie Hall,

236
00:19:37,594 --> 00:19:40,680
that’s a prominent place as you
could ever play, you know.

237
00:19:40,764 --> 00:19:43,558
But, uh, by that time everybody
was getting hip to it.

238
00:19:43,641 --> 00:19:47,395
Everything was like going to
heaven because we heard this
music and like you know,

239
00:19:47,479 --> 00:19:50,190
nobody had ever heard anything
like this before, you know?

240
00:19:50,273 --> 00:19:54,694
Oh, my God, man,
’cause they call it jazz
and samba, jazz and samba.

241
00:19:54,778 --> 00:19:57,197
[imitates music sounds]
You know?

242
00:19:57,280 --> 00:20:00,700
And all my favorite
Brazilian people were there,
’cause it was so new then.

243
00:20:08,458 --> 00:20:12,045
The day after the concert
I went to Birdland,

244
00:20:12,128 --> 00:20:15,298
was the jazz cathedral
in New York,

245
00:20:15,382 --> 00:20:18,301
you know, of all the great jazz
musicians played there

246
00:20:18,385 --> 00:20:21,763
and Cannonball Adderley
was playing there.

247
00:20:21,846 --> 00:20:26,643
So he look at me he said,
uh, ’When are you going
back to Brazil?"

248
00:20:26,726 --> 00:20:30,397
I said, "This week."
He said, "No, no you stay,
stay couple weeks.

249
00:20:30,480 --> 00:20:34,109
Let’s make a record together."
I said, "It’s not pos..."
So I started pinching myself.

250
00:20:34,192 --> 00:20:38,405
This is not... This is not real,
you know? Cannonball asking
me to make a record.

251
00:20:38,488 --> 00:20:43,910
So we did an album it
was fantastic. The whole
thing for me was like magic.

252
00:20:51,626 --> 00:20:53,336
That’s the bossario sax set.

253
00:20:53,420 --> 00:20:55,964
People they really
liked that sound,

254
00:20:56,047 --> 00:20:58,633
because it was so different
from... ’Cause bossa nova,

255
00:20:58,717 --> 00:21:03,722
most of the interpreters and,
and composers was
very minimalist,

256
00:21:03,805 --> 00:21:06,307
was a guitar, acoustic
guitar and a voice,

257
00:21:06,391 --> 00:21:10,979
so now two trombones
and a tenor and a drums.

258
00:21:28,538 --> 00:21:34,377
Can you imagine listening to
a sax that like this with two
trombones and a tenor sax,

259
00:21:34,461 --> 00:21:39,215
really blowing out?
On a small room for 40,

260
00:21:39,299 --> 00:21:43,511
45 people,
they really blowing hard.

261
00:21:43,595 --> 00:21:48,600
It was a different way of,
of uh, understanding
and developing bossa nova.

262
00:21:48,683 --> 00:21:52,187
We used to call the...
This is heavy bossa man,

263
00:21:52,270 --> 00:21:56,649
and Sérgio was the most
perfect example

264
00:21:56,733 --> 00:22:00,779
of this encounter
of jazz and bossa nova.

265
00:22:24,594 --> 00:22:26,638
[Sérgio]
Rio means a lot to me,

266
00:22:26,721 --> 00:22:29,641
because Cidade maravilhosa,
which means marvelous city,

267
00:22:29,724 --> 00:22:32,352
but really, it’s a very
inspiring city.

268
00:22:32,435 --> 00:22:38,024
I’m so happy to be back in Rio
De Medellin Studio where I’ve
made so many records,

269
00:22:38,108 --> 00:22:43,988
recording those songs you know
from the old days, 1962-63.

270
00:22:45,615 --> 00:22:49,577
When I say, wow,
uh, I’m gonna play
with Sérgio Mendes,

271
00:22:49,661 --> 00:22:55,625
everybody goes, oh man,
what are you gonna play,
that album, wow, fantastic.

272
00:23:12,684 --> 00:23:16,146
I’m sorry, no, no, no, no, no,
no, no. [foreign language]

273
00:23:27,657 --> 00:23:31,286
[foreign language]

274
00:23:35,040 --> 00:23:40,211
They were like amazing songs,
melodically, harmonically,
and rhythmically

275
00:23:40,295 --> 00:23:43,798
and the, the interpretation
of the songs is an instrumental.

276
00:23:43,882 --> 00:23:47,886
There’s no lyrics,
no vocals, but was
tremendous energy.

277
00:23:47,969 --> 00:23:51,639
And I like that so much,
you know? When we play,
ba, ba, ba, ta, da, da, da.

278
00:23:51,723 --> 00:23:55,018
It was like, hey wake up,
you know, we are here.

279
00:24:42,732 --> 00:24:47,320
The name of the album was
Voce ainda nao ouviu nada.

280
00:24:47,404 --> 00:24:50,490
It means, You Haven’t
Heard Anything Yet,

281
00:24:50,573 --> 00:24:53,576
’cause that was really a
vanguard at the time, you know?

282
00:25:48,506 --> 00:25:52,886
The motto for the revolution,
the military coup.

283
00:25:52,969 --> 00:25:59,893
We’re here to clean
the country from communist,
subversion, and corruption.

284
00:26:00,769 --> 00:26:03,897
Who couldn’t applaud, ah,
what that’s what we want.

285
00:26:05,482 --> 00:26:11,988
And people thought
they’d stay for one year,
two year at the maximum.

286
00:26:15,408 --> 00:26:17,619
That didn’t happen.

287
00:26:24,250 --> 00:26:29,923
They stayed 21 years.
It became a terrible
dictatorship.

288
00:26:30,006 --> 00:26:35,804
No justices, courts,
you have no rights.

289
00:26:35,887 --> 00:26:38,640
You could be detained
for no reason.

290
00:26:38,723 --> 00:26:42,727
People starting killing
people, torturing people.

291
00:26:42,811 --> 00:26:47,148
Bossa nova was not
the type of music

292
00:26:47,232 --> 00:26:51,194
for the times we were
living then, times of fear,

293
00:26:51,277 --> 00:26:54,572
of violence, of, uh, division,

294
00:26:54,656 --> 00:27:00,787
of, uh, prosecutions,
of, uh, militarily courts.

295
00:27:00,870 --> 00:27:05,417
The country was in a convulsion.

296
00:27:05,500 --> 00:27:10,964
My son, Rodrigo, was born
the sixth of April of 1964.

297
00:27:11,047 --> 00:27:13,508
So about a week
after the revolution,

298
00:27:13,591 --> 00:27:17,053
I sent a telegram to
a friend of mine saying,

299
00:27:17,137 --> 00:27:21,516
that Rodrigo was born,
but in kind of a joking
between friends.

300
00:27:21,599 --> 00:27:26,604
I said Rodrigo Mendes,
the first magic realist

301
00:27:26,688 --> 00:27:31,943
of Niteroi, tell Uncle Lee
that the whole thing

302
00:27:32,027 --> 00:27:36,823
it’s about loose
diapers and warm milk.

303
00:27:36,906 --> 00:27:40,368
I was arrested and questioned.
I say, ’What is this?"

304
00:27:40,452 --> 00:27:45,040
They thought the telegram was
a key of the anti-revolution.

305
00:27:45,123 --> 00:27:48,376
The whole thing
was so surrealist.
It was like Kafka.

306
00:27:48,460 --> 00:27:51,338
It was just ugly, ugly times.

307
00:27:54,215 --> 00:27:59,012
I had a friend of mine,
he was my, uh, best man
in my wedding

308
00:27:59,095 --> 00:28:04,059
and he worked at
the cultural division of
the Brazilian Foreign office.

309
00:28:04,142 --> 00:28:06,728
I said, "Mario I must
get out of here.

310
00:28:06,811 --> 00:28:09,814
I want to go to the United
States, you’re gonna help me."

311
00:28:09,898 --> 00:28:12,150
I said, "I want some
airline tickets

312
00:28:12,233 --> 00:28:16,196
and money to pay for my hotels."
So he look at me and said,
"You’re crazy,

313
00:28:16,279 --> 00:28:20,700
but I’m gonna get
you there," which he did.
I’m so thankful to him.

314
00:28:36,424 --> 00:28:39,094
I spoke a little
English, not very much.

315
00:28:39,177 --> 00:28:43,223
I had the wife and
the little kid, that I had
to, I had to pay rent,

316
00:28:43,306 --> 00:28:47,018
and the, the real
things of life.

317
00:28:47,102 --> 00:28:51,022
I remember my bass player,
we bought a car together.

318
00:28:51,106 --> 00:28:55,318
It was a Chevrolet 1951,
cost $75.

319
00:28:55,402 --> 00:29:01,491
And he would drive for one week,
I would drive for the other
week. That was my first car.

320
00:29:01,574 --> 00:29:04,494
Back then,
for someone to travel,

321
00:29:04,577 --> 00:29:08,331
it took a huge effort,
it really did.

322
00:29:08,415 --> 00:29:10,709
I can’t overstate this.

323
00:29:10,792 --> 00:29:14,295
So even though he was
successful in Brazil
and even though he was known

324
00:29:14,379 --> 00:29:16,631
in the States for
being successful in Brazil,

325
00:29:16,715 --> 00:29:21,052
it wasn’t like he was...
Like there was this huge massive
consciousness here

326
00:29:21,136 --> 00:29:23,555
of who Sérgio Mendes was.
There wasn’t.

327
00:29:25,765 --> 00:29:29,477
So I put this band together,
Brasil ’65.

328
00:29:29,561 --> 00:29:32,188
We were auditioning,
doing a few gigs.

329
00:29:32,272 --> 00:29:35,108
We made a record
for Capital Records.

330
00:29:35,191 --> 00:29:39,863
The record didn’t
go anywhere so we
kept touring all over.

331
00:29:52,042 --> 00:29:57,547
Thank you very much.
We would like to
dedicate our last number

332
00:29:57,630 --> 00:29:59,716
to all the people who
work here at Mother Blues.

333
00:29:59,799 --> 00:30:04,429
We enjoyed very much
our time here in Chicago

334
00:30:04,512 --> 00:30:07,891
and we hope we come back again
next year. Thank you very much.

335
00:30:24,491 --> 00:30:29,537
Sérgio Mendes and Brasil ’65
were playing at Mother Blues,

336
00:30:29,621 --> 00:30:32,707
and this was their
last gig, because the group
was breaking up.

337
00:30:32,791 --> 00:30:37,295
They were all going back
to Brazil except Sérgio.

338
00:30:37,379 --> 00:30:41,841
He wanted to try one more
time to put a group together,

339
00:30:41,925 --> 00:30:45,011
and he was looking
for a girl singer.

340
00:30:55,605 --> 00:31:01,653
I walked in and I see this
beautiful young girl playing
guitar and, and singing.

341
00:31:01,736 --> 00:31:04,823
I say, "Wow, what
a incredible voice," you know?

342
00:31:04,906 --> 00:31:08,952
Something different
than what I’ve heard before,

343
00:31:09,035 --> 00:31:13,289
very soulful, very beautiful.

344
00:31:13,373 --> 00:31:16,001
He came up to me after
the show and said,

345
00:31:16,084 --> 00:31:19,963
"I’m putting this new group
together called Brasil ’66,

346
00:31:20,046 --> 00:31:21,965
and I’d like you
to be the lead singer."

347
00:31:22,048 --> 00:31:24,926
I said, ’Well, you’ll have
to ask my father,"

348
00:31:25,010 --> 00:31:28,722
’Cause, you know, I lived
with my parents, I was 19.

349
00:31:28,805 --> 00:31:33,268
[Sérgio] So I went to her
apartment in Chicago.

350
00:31:33,351 --> 00:31:34,811
I met Father and Mother,
and I said,

351
00:31:34,894 --> 00:31:36,730
"Listen, this is what I do,

352
00:31:36,813 --> 00:31:39,190
I’m a musician from Brazil
and I live in L.A."

353
00:31:39,274 --> 00:31:44,904
And my father was reluctant
but he knew how much
I loved to, to sing

354
00:31:44,988 --> 00:31:47,866
and he said, "Okay so if
anything happens you don’t like,

355
00:31:47,949 --> 00:31:52,078
you hop on a plane,
you come home." And I never did.

356
00:31:52,162 --> 00:31:57,083
♪ Well, I think I’m going
Out of my head ♪

357
00:31:57,167 --> 00:32:00,837
♪ Yes I think I’m going
Out of my head ♪

358
00:32:03,506 --> 00:32:07,635
She was amazing, I mean,
funny and great sense of humor,

359
00:32:07,719 --> 00:32:12,015
very intelligent and incredible
voice, very musical.

360
00:32:12,098 --> 00:32:14,768
You know, I would
play songs for her that
she never heard before

361
00:32:14,851 --> 00:32:19,814
and some of those Brazilian
songs are very complicated
harmonically speaking,

362
00:32:19,898 --> 00:32:21,816
so you have to have the ears to,

363
00:32:21,900 --> 00:32:25,445
not only for the melody for,
for the changes, she had it all.

364
00:32:25,528 --> 00:32:32,243
I’m forever grateful
to him, for changing the course
of my life, and he did.

365
00:33:20,709 --> 00:33:23,253
[Sérgio] So Lani came
with me for California.

366
00:33:23,336 --> 00:33:26,047
I put together this new band.

367
00:33:26,131 --> 00:33:29,718
There was a Brazilian
girl living in town.

368
00:33:29,801 --> 00:33:33,346
When I heard the two
girls singing together,
I said, man I like this sound.

369
00:33:33,430 --> 00:33:36,307
You could listen to that
sound and wow, romantic,

370
00:33:36,391 --> 00:33:39,185
but at the same time and
the up tempo Brazilian songs.

371
00:33:46,484 --> 00:33:49,529
It’s a different sound
for me because, I mean,
I no longer have a guy

372
00:33:49,612 --> 00:33:52,615
blowing a saxophone
or trombone in my ears.

373
00:33:52,699 --> 00:33:56,411
The more we rehearse and
I said, "Man, this is so good."

374
00:33:56,494 --> 00:33:58,997
So it was not something
really planned or...

375
00:33:59,080 --> 00:34:04,002
It was something that happened
so organically, you know?

376
00:34:04,085 --> 00:34:07,672
It was completely different
from anything and, uh,

377
00:34:07,756 --> 00:34:11,843
definitely completely
different from rock and roll,
but that speaks to

378
00:34:11,926 --> 00:34:15,638
how certain Sérgio was
of that sound, doesn’t it?

379
00:34:15,722 --> 00:34:18,350
That he didn’t try to imitate

380
00:34:18,433 --> 00:34:23,021
what was going on but just kind
of went into this unique path.

381
00:34:41,539 --> 00:34:46,336
[Lani] We had a job to work
in a resort in the Bahamas,

382
00:34:46,419 --> 00:34:51,257
and people weren’t really
responding to the music.

383
00:34:51,341 --> 00:34:54,928
[Sérgio] So the owner of
the club came to me and said,
"Sérgio, you know,

384
00:34:55,011 --> 00:34:59,349
"I’m sorry but, uh,
the customers here are not
too happy with the sound.

385
00:34:59,432 --> 00:35:03,269
They don’t know what you’re
singing, what language is that."

386
00:35:03,353 --> 00:35:06,231
[Lani] They wanna dance,
you know, they wanna dance.

387
00:35:06,314 --> 00:35:11,403
So I don’t think it’s really
working but we’ll pay you.

388
00:35:11,486 --> 00:35:16,491
And Sérgio said, "You mean,
you’re gonna pay me
to not play?"

389
00:35:16,574 --> 00:35:18,493
And that’s what happened.

390
00:35:18,576 --> 00:35:23,623
So I was fired of my first
gig with Brasil ’66.

391
00:35:36,219 --> 00:35:41,516
This was 1966. We got a, a call
from our distributor in Seattle

392
00:35:41,599 --> 00:35:46,646
who had heard Sérgio,
and he called us and asked
us to audition the group.

393
00:35:46,730 --> 00:35:49,315
He thought they were special.

394
00:35:49,399 --> 00:35:52,902
[Sérgio]
They told me they were
just starting a label, A&M,

395
00:35:52,986 --> 00:35:55,905
and Herb had the Tijuana Brass,
which was huge,

396
00:35:55,989 --> 00:35:58,700
was the biggest instrumental
band in the planet.

397
00:36:01,411 --> 00:36:04,706
This was a big deal.
This was a big deal.

398
00:36:04,789 --> 00:36:10,253
And we played a lot
of things from the sets
that we were playing in clubs.

399
00:36:10,337 --> 00:36:12,797
I remember walking
down the hall and
listening to this sound,

400
00:36:12,881 --> 00:36:15,925
and the sound was really,
there was something
captivating about it

401
00:36:16,009 --> 00:36:20,847
’cause it was like a, a hybrid,
you know, like between
Brazilian music, Brazil...

402
00:36:20,930 --> 00:36:22,891
Like a little bit jazz,
a little bit of folk,

403
00:36:22,974 --> 00:36:26,770
a little bit of African blues.
It had all those elements.

404
00:36:26,853 --> 00:36:31,483
♪ I must think of a way ♪

405
00:36:31,566 --> 00:36:35,070
♪ Into your heart ♪

406
00:36:35,153 --> 00:36:38,031
♪ Oh, there’s no reason why ♪

407
00:36:38,114 --> 00:36:43,370
♪ My being shy should
Keep us apart ♪

408
00:36:43,453 --> 00:36:47,707
[Herb] And then to top it off,
it had this fabulous singer,

409
00:36:47,791 --> 00:36:49,459
Lani Hall, you know?

410
00:36:49,542 --> 00:36:52,253
So I walked in the room
and, uh, just fell in love,

411
00:36:52,337 --> 00:36:53,922
fell in love with the sound.

412
00:36:54,005 --> 00:36:55,882
It was just, just very,
very unusually special,

413
00:36:55,965 --> 00:36:57,300
hadn’t heard anything like it.

414
00:37:22,492 --> 00:37:27,706
[Jerry] Boy what fun it was in
the studio. Being around that
music is just so much fun.

415
00:37:27,789 --> 00:37:31,668
Just listening to his
keyboard work, he was brilliant,
just absolutely amazing.

416
00:37:31,751 --> 00:37:34,004
The makeup of the band,
uh, was exciting,

417
00:37:34,087 --> 00:37:38,758
so we went ahead and signed
Brasil ’66 and Sérgio Mendes.

418
00:37:38,842 --> 00:37:43,555
Now after being fired
from a gig to be hired by
a record company,

419
00:37:43,638 --> 00:37:45,974
so I had the two emotions.

420
00:37:46,057 --> 00:37:50,687
I was fired then I was hired,
story of my life.

421
00:37:50,770 --> 00:37:56,860
Well, you know, A&M
was on that path, you know,
of breaking down boundaries.

422
00:37:56,943 --> 00:38:00,238
I was with them 12 years.

423
00:38:00,321 --> 00:38:05,410
Amazing history at A&M
and Sérgio was like one
of the family, you know?

424
00:38:13,543 --> 00:38:17,630
We went into the studio
and started recording,

425
00:38:17,714 --> 00:38:21,968
’cause Herb was hungry
to produce us,

426
00:38:22,052 --> 00:38:24,596
and that’s what
he did, he produced us.

427
00:38:24,679 --> 00:38:29,976
Going to the studio to record
with Herb was really, uh,
an incredible experience for me,

428
00:38:30,060 --> 00:38:35,065
because I didn’t
know much about the,
the recording part of it

429
00:38:35,148 --> 00:38:37,984
and he was very fluent
in that language.

430
00:38:38,068 --> 00:38:40,111
I mean, he spoke
the language beautifully.

431
00:38:40,195 --> 00:38:46,451
He knew everything about
the position of microphones
and this and that.

432
00:38:51,581 --> 00:38:56,127
So one day, I turned on the
radio and I hear "Mas Que Nada,"
and I say, "Oh, man."

433
00:38:56,211 --> 00:38:58,213
So I called Herb, I say,
"Herb, they’re playing."

434
00:38:58,296 --> 00:39:00,715
He said, "Yeah, man,
it’s a big hit, you know?"

435
00:39:00,799 --> 00:39:02,509
And I say, "Wow."

436
00:39:05,095 --> 00:39:08,723
[Quincy]
They have such good stuff, man.
That stuff would knock me out.

437
00:39:08,807 --> 00:39:11,935
The sounds are the secret,
people don’t realize that.

438
00:39:12,018 --> 00:39:16,815
A great song can make the worst
singer in the world a star,

439
00:39:16,898 --> 00:39:21,444
and a bad song can’t be
saved by the three greatest
singers on the planet.

440
00:39:28,076 --> 00:39:33,289
[Sérgio] This is the first time
ever that a song in Portuguese
became a world hit,

441
00:39:33,373 --> 00:39:37,711
and people didn’t
know what it meant,
and it didn’t matter

442
00:39:37,794 --> 00:39:41,756
because it was such
a great sound on the radio.

443
00:39:41,840 --> 00:39:43,341
It just made people feel good.

444
00:39:43,425 --> 00:39:46,553
Sérgio Mendes is joy.

445
00:39:46,636 --> 00:39:50,432
The first album with Sérgio
was on A&M was a million
selling record, easily.

446
00:39:50,515 --> 00:39:54,602
It developed Sérgio
into a major artist,

447
00:39:54,686 --> 00:39:58,815
and his drawing power
with Brasil ’66 grew.

448
00:40:23,673 --> 00:40:28,928
So the fact that he was able to
kind of rebrand himself entirely

449
00:40:29,012 --> 00:40:35,226
and reposition himself,
and launch this incredibly
successful career here

450
00:40:35,310 --> 00:40:39,314
just speaks a ton
as to his preparedness,

451
00:40:39,397 --> 00:40:42,650
his talent,
how unique the sound was.

452
00:40:42,734 --> 00:40:45,528
He said, um,
"That he was very lucky."

453
00:40:45,612 --> 00:40:50,241
And yes, I think he was
very lucky but, of course,
luck favors the well prepared.

454
00:40:50,325 --> 00:40:53,745
Brasil ’66 is something
that was invented here,

455
00:40:53,828 --> 00:40:57,123
and that’s what really made
him a global phenomenon.

456
00:41:13,056 --> 00:41:15,725
I never expected anything.
I mean, in terms of...

457
00:41:15,809 --> 00:41:18,478
I mean, I’ve always...
I love what I do.

458
00:41:18,561 --> 00:41:21,272
I mean, to play and to
perform and to write songs,

459
00:41:21,356 --> 00:41:25,443
and same thing in Brazil
with the Bossa Rio sextet.

460
00:41:25,527 --> 00:41:29,197
And so all of a sudden we
recording in United States,

461
00:41:29,280 --> 00:41:32,367
the music is being
played all over the world,
including Brazil.

462
00:41:32,450 --> 00:41:37,914
I saw Sérgio as
a winner, you know,
because it’s pretty hard

463
00:41:37,997 --> 00:41:41,710
to reach the
American market, you know?

464
00:41:41,793 --> 00:41:45,130
Because we speak
a different language,
you know, Portuguese.

465
00:41:45,213 --> 00:41:48,299
This is... There’s
a barrier, you know,

466
00:41:48,383 --> 00:41:54,681
but he was so, uh, smart,
and clever to do the...

467
00:41:54,764 --> 00:41:57,267
to find a way to do that.

468
00:41:57,350 --> 00:42:03,023
Wow, this guy, he go out
there, he did the thing,

469
00:42:03,106 --> 00:42:08,528
you know, the perfect
blend of bossa nova, jazz,

470
00:42:08,611 --> 00:42:13,616
Brazilian music, and he invented
the new kind of pop music.

471
00:42:13,700 --> 00:42:18,038
It’s been about five years now
since bossa nova was introduced
to this country

472
00:42:18,121 --> 00:42:20,498
and, uh, it looks like
it’s here to stay.

473
00:42:20,582 --> 00:42:23,668
And we’re delighted
that one of the main
reasons for its popularity

474
00:42:23,752 --> 00:42:27,839
is a group that’s with us
tonight. They’ve got the beat,
the blend and the band.

475
00:42:27,922 --> 00:42:32,552
Ladies and gentlemen,
Sérgio Mendes and Brasil ’66.

476
00:42:53,073 --> 00:42:59,746
♪ Chove chuva
Constant is the rain ♪

477
00:42:59,829 --> 00:43:06,586
♪ Chove chuva
Endless is the pain ♪

478
00:43:06,670 --> 00:43:09,714
♪ As I stand here And remember ♪

479
00:43:09,798 --> 00:43:13,551
♪ That once our
Hearts were one ♪

480
00:43:13,635 --> 00:43:16,554
♪ And every day
Was spring to me ♪

481
00:43:16,638 --> 00:43:19,516
♪ Till you left
And took off to the sun ♪

482
00:43:19,599 --> 00:43:21,351
♪ Now the days are lonely ♪

483
00:43:21,434 --> 00:43:22,894
♪ The song of love is still ♪

484
00:43:22,977 --> 00:43:24,896
♪ They say that
I’ll forget you ♪

485
00:43:24,979 --> 00:43:26,523
♪ But I say I never will ♪

486
00:43:26,606 --> 00:43:28,817
♪ And it hurts
With such a pain ♪

487
00:43:28,900 --> 00:43:33,321
♪ To be a lone
And lonely in the rain ♪

488
00:43:33,405 --> 00:43:36,241
♪ And it hurts with
Such a pain to be ♪

489
00:43:36,324 --> 00:43:39,035
♪ Alone and lonely In the rain ♪

490
00:43:39,119 --> 00:43:44,416
He was unstoppable, man.
You couldn’t stop it.

491
00:43:44,499 --> 00:43:49,754
♪ The look of love ♪

492
00:43:49,838 --> 00:43:52,465
♪ Is saying so much more ♪

493
00:43:52,549 --> 00:43:57,971
♪ Than just words
Could ever say ♪

494
00:43:58,054 --> 00:44:04,769
♪ And what my heart has heard
Well, it takes my breath away ♪

495
00:44:04,853 --> 00:44:10,400
♪ I can hardly wait to hold
You feel my arms around you ♪

496
00:44:10,483 --> 00:44:12,944
♪ How long I have waited ♪

497
00:44:13,028 --> 00:44:17,824
♪ Waited just to love you
Now that I have found you ♪

498
00:44:17,907 --> 00:44:20,869
How good was our group
on stage, musically?

499
00:44:20,952 --> 00:44:22,495
Oh, uh, we were great.

500
00:44:40,221 --> 00:44:45,769
♪ Day after day
Alone on the hill ♪

501
00:44:45,852 --> 00:44:50,857
♪ The man with the foolish grin
Is keeping perfectly still ♪

502
00:44:50,940 --> 00:44:55,820
[Sérgio]
Was Christmas of 1967, I hear
the song "Fool on the Hill."

503
00:44:55,904 --> 00:45:01,284
I said, "Wow. Like, different,
you know? Different melody."

504
00:45:01,368 --> 00:45:04,496
And I said, "Man I think I have
an idea for an arrangement."

505
00:45:04,579 --> 00:45:08,792
Let’s see if we can bring
that melody to Brazil

506
00:45:08,875 --> 00:45:13,046
and arrange it in
a different way of course,
otherwise, why would I do it?

507
00:45:13,129 --> 00:45:16,257
The whole idea of, you know,
interpret the song

508
00:45:16,341 --> 00:45:18,468
was to do it in a different way.

509
00:45:18,551 --> 00:45:21,346
And as soon as I heard
the arrangement the vocals,

510
00:45:21,429 --> 00:45:23,869
I call Herb, I said, "Man, let’s
record this thing, you know?"

511
00:45:23,932 --> 00:45:26,643
It’s like feels so good
all of the sudden, you know,

512
00:45:26,726 --> 00:45:30,146
and it’s like, oh, my God,
I’m in heaven again.

513
00:45:33,692 --> 00:45:35,985
So when we finished the album,
"Fool on the Hill,"

514
00:45:36,069 --> 00:45:39,781
and they said,
"We wanna show you
the album cover."

515
00:45:39,864 --> 00:45:44,828
And I see this beautiful
picture, looks like a, you know,
a mountain on the air.

516
00:45:44,911 --> 00:45:47,497
And I saw these gorgeous
undulations,

517
00:45:47,580 --> 00:45:49,624
and there was a hill.

518
00:45:49,708 --> 00:45:53,420
And I said, "Man that’s
so beautiful." And they...
it looked gorgeous.

519
00:45:53,503 --> 00:45:56,589
But I didn’t really
pay attention on the hill.

520
00:45:56,673 --> 00:46:02,012
And then people told me,
you know, this is a lady
laying down naked.

521
00:46:02,095 --> 00:46:08,435
I said, "Oh, okay, you know."
And so... But the best part
of the story is that,

522
00:46:09,310 --> 00:46:12,731
so A&M was gonna release
the album like that.

523
00:46:12,814 --> 00:46:15,608
And then they had
a lot of phone calls
from record stores,

524
00:46:15,692 --> 00:46:18,486
"Oh, we cannot
release this record."

525
00:46:18,570 --> 00:46:20,113
I said, "Why you cannot
release?"

526
00:46:20,196 --> 00:46:22,782
"Because it’s showing a nipple,

527
00:46:22,866 --> 00:46:26,578
and we’re not gonna put
that in the, on the..." What?

528
00:46:26,661 --> 00:46:30,040
Well, we’ll put a sticker
with the names of the song

529
00:46:30,123 --> 00:46:34,878
and you’ll never see
that nipple or the hill,
so the fool on the hill.

530
00:46:34,961 --> 00:46:39,090
Every one of Sérgio’s records
was either gold or platinum
throughout those years.

531
00:46:39,174 --> 00:46:43,011
What Sérgio did in the mid-
to late ’60s was phenomenal.

532
00:46:45,388 --> 00:46:47,932
[Herb] Man I, can’t say
enough good things about him,

533
00:46:48,016 --> 00:46:53,730
because, you know, without him I
would’ve never met Lani, because
he became Cupid for me.

534
00:47:03,073 --> 00:47:05,992
I remember Lani telling me,
"Sérgio, you know,

535
00:47:06,076 --> 00:47:09,079
I’m gonna leave the band."
And I said, "Wow."

536
00:47:11,456 --> 00:47:14,876
Was like a big surprise for me,

537
00:47:14,959 --> 00:47:19,047
because she was the sound
of Brasil ’66 and, uh,

538
00:47:19,130 --> 00:47:23,259
part of that whole
thing was her voice,
you know, and I said, "Wow."

539
00:47:23,343 --> 00:47:27,681
♪ The dawn is
Filled with dreams ♪

540
00:47:27,764 --> 00:47:32,018
♪ So many dreams
Which one is mine ♪

541
00:47:32,102 --> 00:47:38,274
It was difficult for me
to leave, but Herb
was no longer traveling,

542
00:47:38,358 --> 00:47:41,695
and I knew that

543
00:47:41,778 --> 00:47:47,450
I couldn’t have a relationship
if I’m on the road 11 months
out of the year.

544
00:47:47,534 --> 00:47:50,745
I have to show up
for this relationship,

545
00:47:50,829 --> 00:47:57,085
and I took a chance and I knew
that I was burying myself

546
00:47:57,168 --> 00:48:00,964
with the idea of, if it
doesn’t work, can I come back?

547
00:48:01,047 --> 00:48:03,800
That was not gonna happen.
Sérgio was ver...

548
00:48:03,883 --> 00:48:08,763
I think he was
very hurt that I left.

549
00:48:08,847 --> 00:48:14,978
But, um, I was in love
and I followed love.

550
00:48:15,061 --> 00:48:17,939
♪ ...all the songs ♪

551
00:48:18,023 --> 00:48:21,609
♪ When there’s a song
For every star ♪

552
00:48:21,693 --> 00:48:24,738
I was kind of sad,
but at the same time happy,

553
00:48:24,821 --> 00:48:28,950
because I knew that she
and Herb, they love each other.

554
00:48:29,034 --> 00:48:35,081
That was gonna be something
that beautiful, beautiful story.

555
00:48:35,165 --> 00:48:37,542
[Herb] Lani and I have been
married for 43 years,

556
00:48:37,625 --> 00:48:41,254
and it’s the best that
ever happened in my life.

557
00:48:41,338 --> 00:48:43,882
The risks when
a lead singer leaves

558
00:48:43,965 --> 00:48:48,428
or when a key member
of a band leaves is huge.

559
00:48:48,511 --> 00:48:52,057
Bands work, because
there’s a certain energy
that ties them together,

560
00:48:52,140 --> 00:48:56,144
and then you take one of those
elements away, and what
do you do?

561
00:48:56,227 --> 00:49:00,648
And especially if it’s
the vocal, the vocal
is what people hear.

562
00:49:00,732 --> 00:49:03,193
I was not disappointed to her,
but I was kinda sad.

563
00:49:03,276 --> 00:49:07,947
Said, "What am I gonna do now,
you know, now, you know?" So...

564
00:49:08,031 --> 00:49:12,410
♪ Which one to choose
Which way to go ♪

565
00:49:12,494 --> 00:49:19,417
♪ How I can tell how
Will I know how... ♪

566
00:49:20,669 --> 00:49:22,837
[Gracinha] Lani had been
with him since the beginning,

567
00:49:22,921 --> 00:49:25,965
and the other singers
came and went, but she
was the main singer.

568
00:49:26,049 --> 00:49:29,719
She was supposed to stay in the
band until the end of the year,

569
00:49:29,803 --> 00:49:34,849
and I started singing with
Sérgio with the, with Brasil ’66

570
00:49:34,933 --> 00:49:39,479
while she was leaving,
so I would one sh... Uh,
show she would do another

571
00:49:39,562 --> 00:49:42,148
and then she started
doing less and less.

572
00:49:42,232 --> 00:49:46,945
[Nelson] Gracinha became
an instant Brazilian darling.

573
00:49:47,028 --> 00:49:51,241
Seventeen years old, so graceful
as her, her name said

574
00:49:51,324 --> 00:49:55,328
and singing very well,
crystal voice,

575
00:49:55,412 --> 00:49:58,248
and the country
became in love with Gracinha.

576
00:49:58,331 --> 00:50:03,670
♪ How I envy the cup
That knows your lips ♪

577
00:50:03,753 --> 00:50:07,841
♪ Let it be me my love ♪

578
00:50:07,924 --> 00:50:11,970
♪ And a table that
Feels your fingertips ♪

579
00:50:12,053 --> 00:50:16,516
♪ Let it be me
Let me be your love ♪

580
00:50:16,599 --> 00:50:21,146
[Gracinha] I started my career
in 1967 in Brazil,

581
00:50:21,229 --> 00:50:27,652
and Sérgio in ’68, he came
to Brazil for the first
time with Brasil ’66 to tour,

582
00:50:27,736 --> 00:50:32,032
and he came to see
a show that I was doing
with some friends of his.

583
00:50:32,115 --> 00:50:36,703
[Sérgio] I heard her sing,
and I think was like,
fell in love immediately.

584
00:50:38,955 --> 00:50:42,542
So original, you know,
so different, that trademark,

585
00:50:42,625 --> 00:50:46,463
you know, has that sound that
only her can have that sound.

586
00:50:56,306 --> 00:51:03,104
After Lani left the band
and I moved to Brasil ’66,
that was it.

587
00:51:17,702 --> 00:51:20,580
[Harrison Ford]
I bought a house in
Hollywood Hills for $10,000,

588
00:51:20,663 --> 00:51:23,083
which was worth about
what it sounds like.

589
00:51:23,166 --> 00:51:27,462
I had a young family. I was
starting to remodel this house.

590
00:51:27,545 --> 00:51:31,341
I didn’t really know anything
about carpentry,

591
00:51:31,424 --> 00:51:37,806
uh, except that, um, uh,
what I had observed in
a couple of books.

592
00:51:37,889 --> 00:51:43,269
I bought some lumber
and I bought some tools,
and then I ran out of money.

593
00:51:43,353 --> 00:51:48,191
I decided to build a studio
in my house in Encino

594
00:51:48,274 --> 00:51:51,903
’cause it was one of my dreams
to have a studio in my backyard

595
00:51:51,986 --> 00:51:56,616
that I could record
any time I wanted, you know,
that kind of a dream.

596
00:51:56,700 --> 00:51:59,411
[Harrison]
And a friend of mine was
working as a recording engineer

597
00:51:59,494 --> 00:52:03,415
at, uh, A&M and working
with Sérgio.

598
00:52:03,498 --> 00:52:08,211
He suggested that maybe
I should entertain
the thought of,

599
00:52:08,294 --> 00:52:13,842
uh, of trying to get
this job at, at Sérgio’s,

600
00:52:13,925 --> 00:52:18,304
which was outrageous to
start with, since I didn’t
really know anything about it.

601
00:52:18,388 --> 00:52:24,269
Nonetheless, uh,
an appointment was arranged.

602
00:52:24,352 --> 00:52:30,775
I went out to Sérgio’s place,
uh, met him one morning
quite early.

603
00:52:30,859 --> 00:52:36,906
He arrived in his, uh,
bathrobe, uh, with a cigar

604
00:52:36,990 --> 00:52:41,327
and we strolled around
the backyard and he was
very sweet, very nice.

605
00:52:41,411 --> 00:52:44,748
And I liked him immediately.
He was one of those

606
00:52:44,831 --> 00:52:47,709
just felt he was a right guy,
I don’t know why.

607
00:52:47,792 --> 00:52:50,962
The most important
point here is that Sérgio forgot

608
00:52:51,046 --> 00:52:53,173
to ask me whether I had
ever done it before.

609
00:52:59,429 --> 00:53:00,847
I was an actor.

610
00:53:03,600 --> 00:53:06,061
You just make shit up.

611
00:53:06,144 --> 00:53:07,937
Is that not right?

612
00:53:20,450 --> 00:53:24,662
I can’t remember whether
we had a permit or not,

613
00:53:24,746 --> 00:53:30,377
um, but, I drew the plans
and, uh, and we built it.

614
00:53:30,460 --> 00:53:32,837
[Sérgio] I had a magnolia tree,
beautiful tree,

615
00:53:32,921 --> 00:53:36,007
he would sit and start
reading scripts, you know?

616
00:53:36,091 --> 00:53:38,677
And I said... And he told me,
"Listen, I wanna be an actor,

617
00:53:38,760 --> 00:53:41,513
and that’s my passion,"
you know?

618
00:53:41,596 --> 00:53:44,307
It’s like, and I said,
"Great," you know?

619
00:53:44,391 --> 00:53:49,437
Possible, possible, I’m sure
I was on my lunch hour.

620
00:53:52,148 --> 00:53:53,948
Sérgio was very patient
about the whole thing.

621
00:53:53,983 --> 00:53:56,444
Absolutely charming, generous,

622
00:53:56,528 --> 00:53:58,947
it was a kind
of a dream project.

623
00:53:59,030 --> 00:54:02,575
I did parlay that job into
another job, into another job,

624
00:54:02,659 --> 00:54:04,494
and I had a very, uh...

625
00:54:07,163 --> 00:54:09,624
A very good career
as a carpenter.

626
00:54:18,216 --> 00:54:22,262
He did such an incredible
job, and so that was
my dream, you know.

627
00:54:22,345 --> 00:54:28,226
He was building my dream
in my backyard, and I made
so many records there.

628
00:54:33,523 --> 00:54:35,984
Would I have hired me?

629
00:54:36,067 --> 00:54:37,402
Fuck no.

630
00:54:37,485 --> 00:54:39,320
[laughter]

631
00:54:39,404 --> 00:54:41,364
No.

632
00:55:01,551 --> 00:55:06,639
So, uh, I guess 1972,

633
00:55:06,723 --> 00:55:13,104
and, uh, my marriage was not
working, and, uh, I was
just... We were too young.

634
00:55:13,188 --> 00:55:18,360
We got married too young
and, uh, so divorce comes
in and I kinda felt,

635
00:55:18,443 --> 00:55:22,822
I felt sad, but I felt more sad

636
00:55:22,906 --> 00:55:29,621
for the fact that
the children were going back
to Brazil with their mother.

637
00:55:29,704 --> 00:55:33,375
So that for me was very,
very hard, very difficult,

638
00:55:33,458 --> 00:55:39,506
and I had to sit down
with them and tell them that
I was divorcing their mother.

639
00:55:39,589 --> 00:55:45,053
They could not understand
and for me telling them
the truth was very painful.

640
00:55:45,136 --> 00:55:48,515
The fact that they’re
gonna go to Brazil,
I’m not gonna see them,

641
00:55:48,598 --> 00:55:53,561
so that was very,
very difficult for me to,
to handle that moment.

642
00:56:05,198 --> 00:56:09,452
Having that separation, all of
a sudden lose all that that he
constructed and built was just,

643
00:56:09,536 --> 00:56:12,539
you know, tough and,
you know, they, he did,

644
00:56:12,622 --> 00:56:14,499
like my mom, did the best
that they could.

645
00:56:14,582 --> 00:56:18,378
My dad every Sunday called us
no matter where it was,

646
00:56:18,461 --> 00:56:21,464
every Sunday, so I know
to expect that call.

647
00:56:21,548 --> 00:56:25,552
That showed a commitment
of a father, I think.

648
00:56:25,635 --> 00:56:28,138
[Isabela] We would visit my dad
every summer and every winter.

649
00:56:28,221 --> 00:56:32,934
You know, it’s so hard
to spend a lotta quality
time in a month’s time,

650
00:56:33,018 --> 00:56:35,103
but my dad made
it work, you know?

651
00:56:35,186 --> 00:56:39,566
It was not about quantity,
it was about quality.

652
00:56:39,649 --> 00:56:45,655
When I think about my family,
for me is the most important
thing in my life, period.

653
00:56:45,739 --> 00:56:48,283
It’s a kind of feeling
I don’t know how to describe.

654
00:56:48,366 --> 00:56:52,287
It’s just a very warm,
very safe kind of feeling.

655
00:56:52,370 --> 00:56:56,791
It’s a wonderful thing.

656
00:56:56,875 --> 00:57:01,379
He got divorced in ’72,
and I was well aware that I was,

657
00:57:01,463 --> 00:57:04,466
you know, that I was in love
with him but, you know,

658
00:57:04,549 --> 00:57:08,887
he was not free so after
his divorce we started,

659
00:57:08,970 --> 00:57:13,350
you know, getting together and,
uh, we decided we were gonna

660
00:57:13,433 --> 00:57:18,188
try and see what happened
and, uh, the kids were very,
very easy with that,

661
00:57:18,271 --> 00:57:20,648
because they liked me
and they knew me.

662
00:57:20,732 --> 00:57:23,735
So we just moved in together
and that was it and,

663
00:57:23,818 --> 00:57:28,281
uh, and the rest is
history and here we are.

664
00:57:43,421 --> 00:57:46,424
If I had to write a movie
about musicians,

665
00:57:46,508 --> 00:57:49,094
and what love could look like

666
00:57:49,177 --> 00:57:54,974
if you’ve traveled the world
singing and music was your life,

667
00:57:55,058 --> 00:57:59,604
and now your wife is your life
and you met through music,

668
00:57:59,688 --> 00:58:05,318
Sérgio and Gracinha would
be the perfect stars.

669
00:58:17,497 --> 00:58:20,834
[Sérgio] There’s this
complicity that I love.

670
00:58:20,917 --> 00:58:25,422
I think the complicity’s
it’s a great word to
describe our relationship.

671
00:58:25,505 --> 00:58:28,216
In Portuguese we call,
cumplicidade.

672
00:58:28,299 --> 00:58:31,678
It’s like I love the word
in Portuguese and English,

673
00:58:31,761 --> 00:58:35,098
because it means this,
you know, the embrace.

674
00:58:35,181 --> 00:58:37,767
To have complicity
like I have with Gracinha,

675
00:58:37,851 --> 00:58:42,022
it’s beyond explanation, it’s
just a wonderful thing to have.

676
00:58:46,776 --> 00:58:50,780
We have a wonderful
thing in our relationship
which is laughter.

677
00:58:50,864 --> 00:58:55,160
We have a lot of fun.
There’s so many
positive things,

678
00:58:55,243 --> 00:58:58,371
that we need another
hour for that one.

679
00:59:08,798 --> 00:59:11,426
Gracinha’s an important
ingredient for Sérgio.

680
00:59:11,509 --> 00:59:13,887
She’s kinda like
the stabilizer, you know?

681
00:59:13,970 --> 00:59:16,973
It’s fun to watch them,
because they’re lovely together.

682
00:59:17,057 --> 00:59:20,143
They’re both really smart,

683
00:59:20,226 --> 00:59:25,398
and they both have
a great sense of humor.

684
00:59:25,482 --> 00:59:30,570
There’s a lot of laughter,
and a lot of music.

685
00:59:30,653 --> 00:59:32,864
There’s so much joy
between the two of them,

686
00:59:32,947 --> 00:59:36,034
there’s so much comfort
because not only are
they husband and wife,

687
00:59:36,117 --> 00:59:39,704
but they’ve been working
together for so long that
there’s a...

688
00:59:39,788 --> 00:59:42,749
There’s a beautiful trust that
they have with one another.

689
00:59:42,832 --> 00:59:46,419
My mom and dad are quite
the pair, an amazing team.

690
00:59:46,503 --> 00:59:50,006
I’d like to say that it’s
a symbiotic relationship

691
00:59:50,090 --> 00:59:54,761
but I think he may
need her a little more.

692
00:59:54,844 --> 00:59:58,306
[Gracinha]
When Sérgio and I got together,
he had three children.

693
00:59:58,390 --> 01:00:01,518
They didn’t live with us full
time. For the first few years,

694
01:00:01,601 --> 01:00:06,481
they lived in Brazil with their
mother, and then in 1983,
they came to live with us.

695
01:00:06,564 --> 01:00:10,819
Then we had two sons
together, Gustavo and Tiago,

696
01:00:10,902 --> 01:00:13,905
and, uh, we became the big
family that I always dreamt of,

697
01:00:13,988 --> 01:00:17,742
because I come from
a very big family.

698
01:00:17,826 --> 01:00:22,622
They also know that there’s an
enormous interest in their lives
and being there for them,

699
01:00:22,706 --> 01:00:27,794
you know, and they know they,
they can count on him,
and he’s there for them.

700
01:00:27,877 --> 01:00:34,009
He’s very proud of all
of us, and it’s really very...

701
01:00:34,092 --> 01:00:35,677
It’s nice to be his son.

702
01:01:03,621 --> 01:01:07,042
♪ A stick a stone
It’s the end of the road ♪

703
01:01:07,125 --> 01:01:10,670
♪ It’s the rest of a stump
It’s a little alone ♪

704
01:01:10,754 --> 01:01:14,174
♪ It’s a sliver of glass
It is life, it’s the sun ♪

705
01:01:14,257 --> 01:01:17,969
♪ It is night, it is death
It’s a trap, it’s a gun ♪

706
01:01:18,053 --> 01:01:21,806
♪ The oak when it blooms
A fox in the brush ♪

707
01:01:21,890 --> 01:01:24,851
♪ A knot in the wood
The song of a thrush ♪

708
01:01:24,934 --> 01:01:31,149
The ’70s were really
a very strange time of, uh,
of our lives in terms of music.

709
01:01:31,232 --> 01:01:35,236
It’s so hard to maintain
momentum as a recording artist

710
01:01:35,320 --> 01:01:39,532
and to have people interested
in your music as fads change,

711
01:01:39,616 --> 01:01:41,576
and it’s a challenge, right?

712
01:01:41,659 --> 01:01:44,204
Because you want to maintain
the integrity of your sound.

713
01:01:44,287 --> 01:01:48,750
You don’t want to
"sell out" to whatever’s
happening on the air,

714
01:01:48,833 --> 01:01:51,711
but then you do
risk sounding dated.

715
01:01:51,795 --> 01:01:55,715
It’s a journey when it comes
to music and life and career,

716
01:01:55,799 --> 01:01:59,386
um, and that journey is not
always the mountain top.

717
01:01:59,469 --> 01:02:03,515
That journey is not always
the highs, and it’s like really,

718
01:02:03,598 --> 01:02:08,103
the things you learn
while you’re in that valley
that you could take up and,

719
01:02:08,186 --> 01:02:13,525
and build into character
traits that when you
at the mountaintop,

720
01:02:13,608 --> 01:02:18,446
you like can really
enjoy it, be real
with it, be authentic.

721
01:02:18,530 --> 01:02:23,284
I think perhaps he didn’t evolve
at that point in time,

722
01:02:23,368 --> 01:02:26,371
and people started to
associate it with old music.

723
01:02:26,454 --> 01:02:29,249
♪ A must a thrust a bump ♪

724
01:02:29,332 --> 01:02:32,544
♪ It’s a girl, it’s a rhyme
It’s a cold, it’s the mumps ♪

725
01:02:46,016 --> 01:02:50,937
Pelé was born in a city
called three hearts, yes.

726
01:02:51,021 --> 01:02:55,191
He’s a man with three hearts.

727
01:02:55,275 --> 01:02:59,988
When you talk about
Pelé, uh, genius.

728
01:03:00,071 --> 01:03:03,533
Uh, it’s like one of
a kind. It’s never been
anybody like him.

729
01:03:03,616 --> 01:03:06,786
He’s the best soccer
player ever in the world.

730
01:03:06,870 --> 01:03:09,456
I saw him playing, it’s amazing.

731
01:03:09,539 --> 01:03:13,960
[Gracinha]
It was a documentary about Pelé
done by this French director.

732
01:03:14,044 --> 01:03:16,588
They invited Sérgio
to do the soundtrack.

733
01:03:16,671 --> 01:03:20,967
So Pelé used to come
and stay with us in L.A.

734
01:03:21,051 --> 01:03:23,970
He wrote a couple of songs,

735
01:03:24,054 --> 01:03:27,515
and actually Sérgio picked
up those songs

736
01:03:27,599 --> 01:03:31,102
and developed
the soundtrack pretty
much based upon those songs.

737
01:04:18,608 --> 01:04:20,735
I would not think of
Pelé as a singer.

738
01:04:20,819 --> 01:04:22,779
I don’t think of
Pelé as a singer,

739
01:04:22,862 --> 01:04:25,907
but I still would listen
to Pelé singing with
Sérgio Mendes.

740
01:06:09,052 --> 01:06:11,513
[clapping]

741
01:06:15,225 --> 01:06:17,185
That was great.

742
01:06:17,268 --> 01:06:23,149
Are you kidding me?
You’re never gonna
see me that happy again.

743
01:06:34,994 --> 01:06:38,998
Woo!

744
01:06:39,082 --> 01:06:40,917
No. Again, again,
let’s do it again.

745
01:06:41,001 --> 01:06:42,752
Do it again, do it again.

746
01:06:42,836 --> 01:06:45,630
I’ve been working on the new
album now for two years,

747
01:06:45,714 --> 01:06:49,843
and in Brazil, in Rio
and here in Los Angeles.

748
01:07:09,070 --> 01:07:14,117
The percussion department,
which brings the essential
joy to the project,

749
01:07:14,200 --> 01:07:18,538
I recorded in Brazil with the
best percussionists in Brazil.

750
01:07:21,708 --> 01:07:24,502
His name is Pretinho da Serrinha
and his nephew,

751
01:07:24,586 --> 01:07:28,131
young 10-year-old
percussionist, so that
for me was like amazing.

752
01:07:37,307 --> 01:07:39,142
♪ Samba in the corner ♪

753
01:07:39,225 --> 01:07:43,313
♪ Dancing, drinking, thinking
Back to grooving ♪

754
01:07:43,396 --> 01:07:46,608
Then I came here to L.A.
where I live,

755
01:07:46,691 --> 01:07:50,445
and I recorded a lot
of music with young singers.

756
01:07:50,528 --> 01:07:53,365
♪ Movin’, samba in heaven ♪

757
01:07:53,448 --> 01:07:57,243
♪ Strollin’ the beaches
Like when we were lovers ♪

758
01:07:57,327 --> 01:08:01,081
I have this young girl,
she’s my goddaughter.

759
01:08:01,164 --> 01:08:05,460
Her artistic name is Sugar
Jones, an unbelievable voice.

760
01:08:05,543 --> 01:08:09,673
♪ You give me, you give
You give me fever ♪

761
01:08:09,756 --> 01:08:12,676
♪ You give me, you give me
You give me fever ♪

762
01:08:14,511 --> 01:08:17,305
That’s great. That’s beautiful.
Sugar, you’re the best.

763
01:08:17,389 --> 01:08:19,599
- Thank you.
- Really sounds incredible.

764
01:08:26,356 --> 01:08:28,566
Can we do it again?

765
01:08:28,650 --> 01:08:29,776
Oh, yeah, yeah, yeah, sure.

766
01:08:29,859 --> 01:08:33,446
[speaks Spanish]

767
01:08:33,530 --> 01:08:38,451
I recorded a song for
the first time in Spanish,
which I always wanted to do.

768
01:08:43,623 --> 01:08:46,751
So I met with two young
kids from Colombia.

769
01:08:46,835 --> 01:08:50,338
They’re brothers, and they call
themselves Cali and Dandee.

770
01:08:50,422 --> 01:08:55,719
All of a sudden we have this
combination of Brazilian
rhythms and reggaeton,

771
01:08:55,802 --> 01:08:58,221
and the two of them
singing in Spanish.

772
01:09:04,728 --> 01:09:08,398
This is an incredible
joy for me to be making
a record like that

773
01:09:08,481 --> 01:09:11,693
with so many different
people collaborating
and being part of it

774
01:09:11,776 --> 01:09:13,528
and putting their
hearts on the line.

775
01:09:26,416 --> 01:09:29,753
- Whoo!
- Yes!

776
01:09:29,836 --> 01:09:32,255
We love it.

777
01:09:49,814 --> 01:09:53,651
He hadn’t recorded in
America for like three years,
something like that,

778
01:09:53,735 --> 01:09:56,029
so he started getting
excited and he did this album.

779
01:09:56,112 --> 01:10:01,868
This whole album was
not very Brazilian; it was
a pretty much pop album.

780
01:10:01,951 --> 01:10:06,373
I had finished the album
and the album was being mixed.

781
01:10:06,456 --> 01:10:11,836
And this song arrives in
the mailbox, little cassette.

782
01:10:11,920 --> 01:10:15,590
I mean, I was in love
with that melody and
the changes and the chords.

783
01:10:15,674 --> 01:10:20,053
Sérgio heard the song
and said, "Well, my...
But my album is done."

784
01:10:20,136 --> 01:10:23,973
And I said, "Well,
just start again."

785
01:10:24,057 --> 01:10:26,184
[Sérgio]
So I met Joe Pizzulo.

786
01:10:26,267 --> 01:10:30,188
♪ Hold your body Close to mine ♪

787
01:10:30,271 --> 01:10:34,067
I literally was
learning it driving to
the studio to meet Sérgio.

788
01:10:34,150 --> 01:10:38,321
I walked in and I met him
and he did, run through
the formalities,

789
01:10:38,405 --> 01:10:41,741
I walked into the booth
and pressed the button.

790
01:10:41,825 --> 01:10:46,079
I started singing, and I went
through verse and the first
chorus and he stopped me,

791
01:10:46,162 --> 01:10:49,874
which is usually, you sound
great, we’ll get back to you.

792
01:10:49,958 --> 01:10:53,837
And instead of that he said,
"You’re perfect for the song.

793
01:10:53,920 --> 01:10:58,299
Let’s record it."
And we literally
recorded it that night.

794
01:10:58,383 --> 01:11:03,013
I never heard of
a male voice like that,
beautiful voice, very soulful.

795
01:11:06,224 --> 01:11:10,353
We lay down the track.
It didn’t take long.
Maybe three, four hours.

796
01:11:10,437 --> 01:11:14,649
It was like one of those songs
that almost missed the boat,
right? Almost missed the album.

797
01:11:14,733 --> 01:11:18,695
Sérgio was... He was having,
like a cold spell
there for a year or so,

798
01:11:18,778 --> 01:11:22,157
I’m not sure it might’ve
been longer, and then he
came into my office one day

799
01:11:22,240 --> 01:11:25,368
and he had this master
of "Never Gonna Let You Go."

800
01:11:25,452 --> 01:11:30,165
I put it on, and loved it.
It didn’t sound like
Sérgio and Brasil ’66,

801
01:11:30,248 --> 01:11:33,001
but there was something
about it. It was a great song

802
01:11:33,084 --> 01:11:37,380
and it was a great
performance and it was
a beautiful arrangement.

803
01:11:37,464 --> 01:11:40,800
I picked it up, you know,
for A&M and it was
the number one record.

804
01:11:40,884 --> 01:11:43,470
I can’t get over the fact
that that’s what he did.

805
01:11:43,553 --> 01:11:47,474
It’s a pop song,
where he plays keyboard.

806
01:11:47,557 --> 01:11:51,019
♪ I’m never gonna let you go ♪

807
01:11:51,102 --> 01:11:54,689
♪ I’m gonna hold you
In my arms forever ♪

808
01:11:54,773 --> 01:12:00,862
♪ Gonna try and make up for
All the times I hurt you so ♪

809
01:12:00,945 --> 01:12:05,825
It’s not a comeback that
people immediately think,
oh, that’s Sérgio Mendes,

810
01:12:05,909 --> 01:12:09,412
but it was such a big song that
it kind of transcended that,

811
01:12:09,496 --> 01:12:12,499
and it definitely put
him on the map again.

812
01:12:12,582 --> 01:12:14,584
[Sérgio] Not only here,
everywhere in the world.

813
01:12:14,668 --> 01:12:17,170
In Brazil, in Japan, in Europe.

814
01:12:17,253 --> 01:12:20,507
Ended up being one of the
biggest records of my career.

815
01:12:20,590 --> 01:12:25,095
For me to go back to A&M
and have another hit record,

816
01:12:25,178 --> 01:12:29,140
I mean, it was, it could not
been better. I could not have
planned anything like that.

817
01:12:29,224 --> 01:12:33,478
♪ Never gonna let you go ♪

818
01:12:33,561 --> 01:12:36,314
♪ Hold you in my arms forever ♪

819
01:12:36,398 --> 01:12:39,609
♪ Gonna try and make
Up for all the times ♪

820
01:12:39,693 --> 01:12:42,570
♪ I hurt you so ♪

821
01:12:44,489 --> 01:12:48,243
♪ Hold your body Close to mine ♪

822
01:12:48,326 --> 01:12:50,704
♪ Are we gonna be together ♪

823
01:12:50,787 --> 01:12:54,082
♪ Oh, I swear this time... ♪

824
01:12:57,335 --> 01:13:01,047
For the next nine years,
he did some very nice albums.

825
01:13:01,131 --> 01:13:05,719
He did a couple of
very Brazilian albums with
very good Brazilian songs,

826
01:13:05,802 --> 01:13:10,557
none of the songs
as successful as "Never
Gonna Let You Go," for sure.

827
01:13:10,640 --> 01:13:15,812
[Common] It’s like, well, you
might not have sold that many
records as you did before.

828
01:13:15,895 --> 01:13:20,025
If you do it because you really
love music, that low point,

829
01:13:20,108 --> 01:13:24,029
that was his moment,
and even though it might not
have been widely received,

830
01:13:24,112 --> 01:13:28,533
it was an expression of me,
and I’m glad I released that.

831
01:13:28,616 --> 01:13:31,870
And I’m gonna move
to the next and create
something else

832
01:13:31,953 --> 01:13:33,997
that I hope lights up the world.

833
01:13:38,043 --> 01:13:43,131
[Gracinha] His contract with A&M
was over, and a good friend of
ours was the head of Electra.

834
01:13:43,214 --> 01:13:46,718
And in one of those times
that we saw each other
he said to Sérgio,

835
01:13:46,801 --> 01:13:49,262
"When are you coming
out with another album?"

836
01:13:49,346 --> 01:13:52,015
Sérgio said, "I don’t have
plans, I don’t have a label."

837
01:13:52,098 --> 01:13:57,854
He says, "Well, just go
and bring me the best Brazilian
album that was ever made."

838
01:14:00,106 --> 01:14:04,319
Is, uh, probably top
three of Sérgio’s career

839
01:14:04,402 --> 01:14:07,614
and it’s a very important album.

840
01:14:07,697 --> 01:14:10,283
[Scott] The opening song
starts really soft.

841
01:14:17,165 --> 01:14:20,502
And then when all the
percussionists come in, there’s
over a hundred of us total.

842
01:14:24,255 --> 01:14:27,592
When they all come in,
it’s the most
incredible sound

843
01:14:27,676 --> 01:14:29,844
in the world that you
could ever hear.

844
01:14:29,928 --> 01:14:33,556
Like, oh, my God,
this is amazing. I felt
like I was at Carnival.

845
01:14:47,445 --> 01:14:51,908
So two o’clock in the morning
I’m in bed, phone rings.

846
01:14:51,991 --> 01:14:56,663
I usually take my phone off
the hook, usually at night.

847
01:14:56,746 --> 01:15:01,710
Phone rings, this guy
on the other side,
"Hello, this is Carlinhos."

848
01:15:01,793 --> 01:15:04,879
I said, "Oh," I said,
"I’m asleep, man."

849
01:15:04,963 --> 01:15:09,509
He said, "No, no, no, you got to
hear this song." I said, "What,
2:30 in the morning?"

850
01:15:09,592 --> 01:15:11,011
And he starts singing...

851
01:15:11,094 --> 01:15:13,930
[imitates bass sounds]

852
01:15:14,014 --> 01:15:19,185
I look at Gracinha,
I said, "I love this guy."
He’s crazy, I wanna meet him.

853
01:15:19,269 --> 01:15:23,481
So that’s... It happened
exactly like that.
Serendipity, there we go.

854
01:15:59,768 --> 01:16:03,980
He put his whole
band on the street,
I don’t know, 30 guys,

855
01:16:04,064 --> 01:16:07,150
playing percussion, and I said,
"Oh, my God, this is like,

856
01:16:07,233 --> 01:16:10,945
I never heard anything
like that."

857
01:16:11,029 --> 01:16:13,156
And him, you know
the great personality.

858
01:16:20,705 --> 01:16:22,582
So we again, we like this.

859
01:16:27,420 --> 01:16:30,131
The art of the encounter.

860
01:16:46,106 --> 01:16:49,776
The timing was good, because
that was when world music

861
01:16:49,859 --> 01:16:54,072
was kind of becoming a buzzword,
and so he comes with a very
Brazilian album,

862
01:16:54,155 --> 01:16:55,949
which is a return to his roots.

863
01:16:56,032 --> 01:16:57,701
I think it was a risky move,

864
01:16:57,784 --> 01:17:00,453
but I think he takes risks,

865
01:17:00,537 --> 01:17:03,164
and sometimes they work
and sometimes they don’t,

866
01:17:03,248 --> 01:17:05,792
but it’s part of the reason
why he’s still relevant.

867
01:17:05,875 --> 01:17:11,423
Brasileiro because another
landmark in my career,
because we won a Grammy.

868
01:17:47,125 --> 01:17:51,838
[clapping]

869
01:17:51,921 --> 01:17:54,424
[Gracinha] After Brasileiro,
a couple of years later,

870
01:17:54,507 --> 01:17:59,554
he did another Brazilian
record. But after that he didn’t
record for quite a long time.

871
01:18:01,598 --> 01:18:04,642
[Sérgio]
So after doing so many albums,

872
01:18:04,726 --> 01:18:06,269
’cause in the early days,

873
01:18:06,353 --> 01:18:08,563
we used to do almost
like two albums a year.

874
01:18:08,646 --> 01:18:13,693
So the ’60s, the ’70s, the ’80s,

875
01:18:13,777 --> 01:18:15,987
now 1996,

876
01:18:16,071 --> 01:18:18,239
I thought it was time to stop.

877
01:18:18,323 --> 01:18:21,451
We kept traveling
all over the world,

878
01:18:21,534 --> 01:18:25,288
concerts everywhere
and going here, going there,

879
01:18:25,372 --> 01:18:27,749
and I had no desire
to make a record.

880
01:18:30,794 --> 01:18:36,883
So the years went by,
’97, ’98, 2000, millennium,
da, ta, da, ta, da, ta.

881
01:18:36,966 --> 01:18:41,346
And then one day,
somebody called him

882
01:18:41,429 --> 01:18:46,351
and said, "There’s this kid
that wants you to play
in his record...

883
01:18:49,479 --> 01:18:53,066
but he’s shy to come to you."

884
01:18:53,149 --> 01:18:57,529
He’s not shy, but he doesn’t
know how, just send him over
whenever he wants.

885
01:18:57,612 --> 01:19:01,116
His music, like I said,
it took me to another world.

886
01:19:01,199 --> 01:19:06,913
And I felt like this
connection with Sérgio Mendes
and bossa nova.

887
01:19:06,996 --> 01:19:12,752
This was 1992, and I went
out to thrift stores
and bought his vinyl

888
01:19:12,836 --> 01:19:15,171
and started collecting
Sérgio Mendes work.

889
01:19:15,255 --> 01:19:18,258
I came to his house
with all of his records,

890
01:19:18,341 --> 01:19:22,762
and all the things that
I went hunting for when
I was 17 years old,

891
01:19:22,846 --> 01:19:26,558
looking and trying
to find all the Sérgio
Mendes albums,

892
01:19:26,641 --> 01:19:30,895
I wanted to show him
that like look bro, like I,
I studied this stuff.

893
01:19:30,979 --> 01:19:36,276
I think I can figure
out a trans... I can translate
this sensibility to today.

894
01:19:36,359 --> 01:19:40,780
That was another
serendipity moment,
you know, he...

895
01:19:40,864 --> 01:19:46,661
I’m repeating too much this
word, but I love the sound.
Serendipity is gorgeous.

896
01:19:46,745 --> 01:19:50,915
You know, man, your music
is... It’s been incredible,
my life and this.

897
01:19:50,999 --> 01:19:55,045
And starts telling all these
beautiful stories about how he
heard him the first time.

898
01:19:55,128 --> 01:19:58,006
This older guy that showed
it to him when he was 16,

899
01:19:58,089 --> 01:20:00,967
and then he would show to
the girls and say to the girls,

900
01:20:01,051 --> 01:20:03,845
"You don’t know Sérgio Mendes,
you don’t anything about music."

901
01:20:03,928 --> 01:20:08,224
He was very charming and very
intelligent and very funny.

902
01:20:08,308 --> 01:20:10,769
You know, that kind
of connecting,
when you meet people,

903
01:20:10,852 --> 01:20:14,105
then knowing that you’re going
to be friends for a long time,

904
01:20:14,189 --> 01:20:18,026
and you’re gonna have
a lot of artistic time
to spend with them

905
01:20:18,109 --> 01:20:21,905
and that happened
with Will, which was like,
uh... it changed my life.

906
01:20:31,039 --> 01:20:33,124
♪ Mas que nada ♪

907
01:20:33,208 --> 01:20:35,168
♪ Black Eyed Peas came to
Make it hotter ♪

908
01:20:35,251 --> 01:20:37,879
♪ We be the party starters ♪

909
01:20:37,962 --> 01:20:40,006
♪ Bubblin’ up just like lava ♪

910
01:20:40,090 --> 01:20:42,717
♪ Like lava heated
Like a sauna ♪

911
01:20:42,801 --> 01:20:45,095
♪ Penetrating through
Your body armor ♪

912
01:20:45,178 --> 01:20:47,305
♪ Rhythmically we massage you ♪

913
01:20:47,389 --> 01:20:50,600
♪ With hip-hop mixed up
With samba with samba ♪

914
01:20:50,684 --> 01:20:54,104
[Sérgio]
Of course Will.i.am, like my
other brother, you know.

915
01:20:54,187 --> 01:20:58,274
And Will, like me, is very
curious, very open-minded.

916
01:20:58,358 --> 01:21:01,778
I mean it’s like...
He will try, he’s always

917
01:21:01,861 --> 01:21:06,700
looking for something fresh,
innovative, different.

918
01:21:06,783 --> 01:21:10,620
The idea was to do the great
Brazilian songs, but in the
different beat,

919
01:21:10,704 --> 01:21:14,666
different than the original,
and then he put a little
rap and, you know...

920
01:21:14,749 --> 01:21:18,712
That encounter,
just meeting him, going
to the studio with him,

921
01:21:18,795 --> 01:21:21,631
that for me was, uh,
an incredible experience,

922
01:21:21,715 --> 01:21:27,846
kind of an experience
when I had, when I did my
record with Cannonball in ’61.

923
01:21:27,929 --> 01:21:33,059
Now the difference, now I’m
the old man. You know, he’s
the young kid, I’m the old guy.

924
01:21:33,143 --> 01:21:35,729
[Leila] I remember when
I got Timeless in the mail,

925
01:21:35,812 --> 01:21:40,358
and I thought Sérgio Mendes,
wow, what has Sérgio Mendes
been up to?

926
01:21:40,442 --> 01:21:44,404
And then I put the album in
and I though, "Oh, wow,
this is so clever."

927
01:21:44,487 --> 01:21:50,535
And I thought it was visionary
and very well-executed,
and it sounded great.

928
01:21:50,618 --> 01:21:54,080
And it didn’t sound like
it was contrived at all.

929
01:21:54,164 --> 01:21:57,000
It’s not like he collaborated
with classic pop acts.

930
01:21:57,083 --> 01:22:01,963
No, he collaborated with people
that were in the hip-hop world,
like all through the spectrum.

931
01:22:02,047 --> 01:22:06,885
It’s easy for that to
sound like a cliché or
to not really mesh well.

932
01:22:06,968 --> 01:22:08,970
He did it extremely well,

933
01:22:09,054 --> 01:22:12,932
but he can do it well, because
that’s what he’s always done.

934
01:22:13,641 --> 01:22:20,398
I would say that Sérgio was
one of the original fusion
artists in the commercial space,

935
01:22:20,482 --> 01:22:23,902
and he’s still able to do it.
So that’s part of his talent,

936
01:22:23,985 --> 01:22:30,575
that he’s able to adapt and
incorporate new sounds without
compromising his own integrity.

937
01:22:30,658 --> 01:22:34,579
It was an amazing project.
I really, really loved Timeless.

938
01:22:34,662 --> 01:22:38,458
It taught me a lot about
patience in the studio,

939
01:22:38,541 --> 01:22:41,753
how to work with different
musician disciplines.

940
01:22:41,836 --> 01:22:46,675
I learned a lot about
that style of producing
from working with Sérgio.

941
01:22:54,057 --> 01:22:57,811
The album came out, it was a big
success all over the world.

942
01:22:57,894 --> 01:23:01,606
And I’m so happy, because
that was like for me was
like something fresh.

943
01:23:01,690 --> 01:23:06,152
Here, I have a new start right
now, I’m excited again,
after 10 years, you know?

944
01:23:06,236 --> 01:23:13,034
This is Sérgio Mendes.
Timeless, bro. No more years.
This is forever now.

945
01:23:19,916 --> 01:23:24,295
[Sérgio] I’ve always loved
to try new things in music,

946
01:23:24,379 --> 01:23:29,676
working with somebody else
that will bring a new angle,
a new idea.

947
01:23:29,759 --> 01:23:32,053
I’m always attracted to that.

948
01:23:32,137 --> 01:23:34,514
One day, I’m trying
to write a song.

949
01:23:34,597 --> 01:23:38,643
I’m at the piano,
trying to come up with
a melody and some changes.

950
01:23:38,727 --> 01:23:42,814
We just started playing
together, both of us playing
our keyboards into the computer.

951
01:23:42,897 --> 01:23:45,358
No lyrics at all.
I don’t write lyrics.

952
01:23:45,442 --> 01:23:48,737
And then we’re like, "Well, who
can we get to write the lyric?"

953
01:23:48,820 --> 01:23:51,114
And he said, "What about
John Legend?" I was like, "Oh."

954
01:23:51,197 --> 01:23:54,325
It was a really lovely groove,
and it felt really good.

955
01:23:54,409 --> 01:23:59,497
And it already had, uh,
a melody, uh, a vocal
melody laid out.

956
01:23:59,581 --> 01:24:02,709
Said, "Can you play a little bit
of the song again?"

957
01:24:02,792 --> 01:24:04,878
I never seen that in my life.

958
01:24:04,961 --> 01:24:06,880
So he opens his computer,

959
01:24:06,963 --> 01:24:09,549
and for an hour and a half he...

960
01:24:09,632 --> 01:24:13,470
Nobody says a thing.

961
01:24:13,553 --> 01:24:16,348
And then he look at me,
and then said, "I’m ready."

962
01:24:16,431 --> 01:24:19,601
So he goes to the booth
and starts singing.

963
01:24:19,684 --> 01:24:23,897
I mean, really singing with
his heart and, like, John
Legend, you know, that voice.

964
01:24:23,980 --> 01:24:27,442
And, uh, and I go like, "What?"

965
01:24:27,525 --> 01:24:30,945
♪ I see the wonder
In your eyes ♪

966
01:24:31,029 --> 01:24:37,077
♪ Let the rhythm hypnotize
Let it take your mind away ♪

967
01:24:39,037 --> 01:24:43,124
♪ Ooh, let’s get
Closer than before ♪

968
01:24:43,208 --> 01:24:45,960
♪ Let’s arrive at
Something more ♪

969
01:24:46,044 --> 01:24:49,547
♪ Then we’ll make
It real today ♪

970
01:24:52,592 --> 01:24:56,179
Was such a beautiful words
and everything was like,

971
01:24:56,262 --> 01:24:59,182
so the lyric and the melody
were like that.

972
01:24:59,265 --> 01:25:02,018
That’s John singing,
and I say, "Yay."

973
01:25:02,102 --> 01:25:05,230
We called it "Don’t Say
Goodbye," and it really
came out beautifully.

974
01:25:05,313 --> 01:25:10,276
Uh, he did a great solo
on it, as he does. And it
was a really lovely record.

975
01:25:10,360 --> 01:25:16,157
♪ Let me spend it All with you ♪

976
01:25:24,374 --> 01:25:26,584
Sérgio is a real passionate guy.

977
01:25:26,668 --> 01:25:32,841
He’s passionate about food,
he’s passionate about wine.

978
01:25:32,924 --> 01:25:36,928
[Sérgio] My mom was a great
cook, and I have the memories,

979
01:25:37,012 --> 01:25:41,099
the perfume of her food
and the taste of her food.

980
01:25:41,182 --> 01:25:44,894
So the interesting food,
I think, had a lot to do with
her,

981
01:25:44,978 --> 01:25:50,275
and I think that later
on in life provoked me to try
different foods, you know?

982
01:25:50,358 --> 01:25:53,945
Again, it has to do with
curiosity of the palate,
of the hearing, you know?

983
01:25:54,029 --> 01:25:55,697
I wanna hear new sounds.

984
01:25:55,780 --> 01:25:57,615
That’s the whole thing
about the palate,

985
01:25:57,699 --> 01:25:59,659
and the nose and the hearing.

986
01:25:59,743 --> 01:26:02,537
I think they all related,
and wine comes right into that.

987
01:26:02,620 --> 01:26:08,626
It’s... Well, it’s a mixture
of hedonism and curiosity, no.

988
01:26:09,753 --> 01:26:13,298
[Will.i.am] Sérgio is like
very emotional. Say, for
example, we finished recording.

989
01:26:13,381 --> 01:26:15,717
If it’s late, he’ll have
a glass of wine,

990
01:26:15,800 --> 01:26:20,388
and then we’ll get to
talking and he’ll get to
shedding a tear or two,

991
01:26:20,472 --> 01:26:25,268
’cause that’s just how much
he loves music and how open
he is with his emotions.

992
01:26:25,352 --> 01:26:29,689
And, by the way, the, the chefs,
they call the stove,

993
01:26:29,773 --> 01:26:33,485
they call le piano, the piano,
which I love. That is, oh,
yeah, really?

994
01:26:33,568 --> 01:26:35,820
I said, "Yeah, we call
le piano."

995
01:26:35,904 --> 01:26:38,448
Oh, le piano, it’s me.
I like that.

996
01:26:38,531 --> 01:26:41,493
So all of those things,
when you add them together,
it’s great.

997
01:26:41,576 --> 01:26:46,498
The piano, the music,
the wine, the food,
a grand celebration of life.

998
01:26:56,049 --> 01:26:58,802
When I had the opportunity
to create Rio,

999
01:26:58,885 --> 01:27:01,721
the first thing I thought
about like, okay, this
movie gotta have music.

1000
01:27:01,805 --> 01:27:06,226
And I want it to be authentic,
but I want it to be something
also accessible

1001
01:27:06,309 --> 01:27:08,603
to the world audience,
and who could do that.

1002
01:27:08,687 --> 01:27:11,398
And then Sérgio Mendes’s name
came, like, right off the bat.

1003
01:27:11,481 --> 01:27:15,652
I met him, I mean again, you
know, immediately, you know?

1004
01:27:15,735 --> 01:27:19,823
So he told me the story about
the idea of the birds in Brazil

1005
01:27:19,906 --> 01:27:22,742
and I said, "Oh, man, this
is amazing." I said, "I’m in."

1006
01:27:30,166 --> 01:27:34,212
It was something
totally new for me,
because making a record,

1007
01:27:34,295 --> 01:27:36,381
I know I’ve been doing that,

1008
01:27:36,464 --> 01:27:39,634
but working for a movie’s
a different thing,
totally different.

1009
01:27:44,431 --> 01:27:47,475
Sérgio really came up with
these like very simple notes

1010
01:27:47,559 --> 01:27:53,064
that really became the,
the spine of Rio, like in Rio,
which was like that,

1011
01:27:53,148 --> 01:27:58,111
kinda like little melody that
was really simple but really
potent, you know.

1012
01:27:58,194 --> 01:28:01,781
And that’s when John embraced
it, and then off they went into
creating this amazing song.

1013
01:28:01,865 --> 01:28:06,327
That’s ultimately what
Carlos was trying to tell
a story of his own home.

1014
01:28:06,411 --> 01:28:11,458
And so by bringing in Sérgio,
you know, the two of them,

1015
01:28:11,541 --> 01:28:15,712
they stretched that
understanding of what home
is if you come from Rio.

1016
01:28:15,795 --> 01:28:19,341
Let’s have a song
that establishes the,
the joy of your childhood.

1017
01:28:34,814 --> 01:28:38,068
♪ All the birds of a feather ♪

1018
01:28:38,151 --> 01:28:41,571
♪ Do what they love
Most of all ♪

1019
01:28:41,654 --> 01:28:45,116
♪ We are the best at rhythm
And laughter ♪

1020
01:28:45,200 --> 01:28:48,328
♪ That’s why we love carnival ♪

1021
01:28:48,411 --> 01:28:52,040
♪ Possibly we can sing too ♪

1022
01:28:52,123 --> 01:28:55,043
♪ Sun and beaches, they coo ♪

1023
01:28:55,126 --> 01:28:58,672
♪ Dance to the music
Passion and love ♪

1024
01:28:58,755 --> 01:29:02,759
♪ Show us the best You can do ♪

1025
01:29:02,842 --> 01:29:05,303
[Sérgio] The song we wrote
was nominated for an Oscar,

1026
01:29:05,387 --> 01:29:08,932
which was another great
experience to be in
the Oscars, you know?

1027
01:29:09,015 --> 01:29:11,369
We’re all kind of
like... We’re jumping up
and down with joy,

1028
01:29:11,393 --> 01:29:15,271
like that he got that
nomination. It was so, oh,
oh, you know, so right.

1029
01:29:15,355 --> 01:29:17,273
♪ ...in Rio know
Something else ♪

1030
01:29:17,357 --> 01:29:20,193
♪ All by itself, itself ♪

1031
01:29:20,276 --> 01:29:23,988
♪ You can’t see it coming ♪

1032
01:29:24,072 --> 01:29:27,909
♪ You can’t find it anywhere
Else anywhere else ♪

1033
01:29:34,040 --> 01:29:38,420
It’s interesting,
you know, I usually
don’t hear my old records

1034
01:29:38,503 --> 01:29:42,507
for whatever reason,
’cause I’m always thinking
about the next.

1035
01:29:51,933 --> 01:29:56,396
I think it’s amazing that
he’s had such a successful
career for this long,

1036
01:29:56,479 --> 01:29:59,149
that he’s been relevant
for this long, and, uh,

1037
01:29:59,232 --> 01:30:02,819
I think a lot of musicians
would envy that and it’s
not easy to duplicate.

1038
01:30:02,902 --> 01:30:07,157
[Leila]
So Sérgio has 19 entries
on the Billboard 200.

1039
01:30:07,240 --> 01:30:10,952
The Billboard 200
are the 200 albums

1040
01:30:11,036 --> 01:30:16,916
that at any given time
are the top-selling albums
in the United States, 200.

1041
01:30:17,000 --> 01:30:20,253
To be able to get into that
chart, you have to sell.

1042
01:30:20,337 --> 01:30:25,216
I mean, there’s like no
way around it. You can’t make
that up. It’s like tangible.

1043
01:30:25,300 --> 01:30:31,222
[Common] First of all, to be
able to work 60 years and have
a career in the arts is amazing.

1044
01:30:31,306 --> 01:30:35,101
That’s like a gift from
the creator, for sure.

1045
01:30:35,185 --> 01:30:38,813
That’s a gift from the creator
that you are taking and you are,

1046
01:30:38,897 --> 01:30:44,861
like, nurturing it and you are,
like, developing it and you are
using it in the right way.

1047
01:30:53,787 --> 01:30:59,209
People sometimes ask me
the question, well,
you keep reinventing yourself.

1048
01:30:59,292 --> 01:31:03,129
I never think about
that word first of all.
I don’t use that word.

1049
01:31:03,213 --> 01:31:06,966
Why would you wanna reinvent
him? He’s perfect the way he is.

1050
01:31:36,413 --> 01:31:40,750
I will never retire,
because I love what I do.

1051
01:31:40,834 --> 01:31:44,504
I love traveling,
I love playing concerts
and working with my band.

1052
01:31:44,587 --> 01:31:49,676
It gives me tremendous pleasure.
So in my mind the idea
of retiring, no way.

1053
01:31:49,759 --> 01:31:54,389
I think his music transcends
like age and all those barriers
that we think,

1054
01:31:54,472 --> 01:31:57,851
we keep thinking, oh, he’s
an old-timer. He hasn’t, like,
since Brasil ’66, you know,

1055
01:31:57,934 --> 01:32:01,938
but actually, he never stops,
you know, like...

1056
01:32:02,022 --> 01:32:03,958
And I think it makes his
work always contemporary.

1057
01:32:03,982 --> 01:32:08,778
It’s impossible for an artist
to have a career that long.

1058
01:32:08,862 --> 01:32:13,950
This Sérgio Mendes
dude seen a whole bunch
of presidents through, bro.

1059
01:32:14,034 --> 01:32:16,786
A president only has
four to eight years, that’s it.

1060
01:32:16,870 --> 01:32:23,460
Sérgio Mendes seen Nixon,
Ford, freaking, think about
all the presidents he’s seen.

1061
01:32:23,543 --> 01:32:24,836
Come on.

1062
01:32:27,172 --> 01:32:30,842
Sérgio’s a visionary.
When he sees an opportunity,

1063
01:32:30,925 --> 01:32:36,181
he’ll go for it.
He doesn’t go backwards,
he goes forward all the time.

1064
01:32:36,264 --> 01:32:38,266
I think he does it out
of the right reasons.

1065
01:32:38,350 --> 01:32:40,935
He’s passionate
about making music.

1066
01:32:41,019 --> 01:32:44,439
He loves to do it,
he loves to record and,

1067
01:32:44,522 --> 01:32:48,651
uh, he’s really good
at it, and I think
that keeps him alive.

1068
01:32:56,451 --> 01:33:02,957
For me, this whole journey,
the word is joy, alegria.

1069
01:33:03,041 --> 01:33:05,418
Uh, the next party, I’m ready.

1070
01:33:27,273 --> 01:33:30,985
♪ Yeah, how y’all
Feeling out there? ♪

1071
01:33:31,069 --> 01:33:34,155
♪ Sabor do Rio, let’s go ♪

1072
01:33:34,239 --> 01:33:36,282
♪ Yeah, come on ♪

1073
01:33:56,720 --> 01:33:59,681
♪ Feel the sunshine
Yeah, it’s summertime ♪

1074
01:33:59,764 --> 01:34:01,975
♪ Little brew, a little
Bit of little wine ♪

1075
01:34:02,058 --> 01:34:04,310
♪ We feeling good now
In the ’hood now ♪

1076
01:34:04,394 --> 01:34:06,896
♪ Rio de Janeiro
Understood now? ♪

1077
01:34:06,980 --> 01:34:09,024
♪ Coming from Chicago
This is Common ♪

1078
01:34:09,107 --> 01:34:11,401
♪ I’m in the place
With my man, Sérgio ♪

1079
01:34:11,484 --> 01:34:13,695
♪ This is how the words’ll go ♪

1080
01:34:13,778 --> 01:34:16,059
♪ This is how we rockin’ in
The circle, universal though ♪

1081
01:34:35,050 --> 01:34:37,302
♪ La music, we in sync ♪

1082
01:34:37,385 --> 01:34:39,554
♪ A lot of people doing
What we can, no think ♪

1083
01:34:39,637 --> 01:34:41,806
♪ Don’t think too long
Don’t think too wrong ♪

1084
01:34:41,890 --> 01:34:44,184
♪ When it come to this
Yo, you lovin’ that song ♪

1085
01:34:44,267 --> 01:34:46,603
♪ Now, we can go strong
Look at the palm ♪

1086
01:34:46,686 --> 01:34:48,855
♪ Trees and feel breeze, MC’s ♪

1087
01:34:48,938 --> 01:34:50,940
♪ This is how we be
When the style’ll be free ♪

1088
01:34:51,024 --> 01:34:53,526
♪ I love it when the
Ladies just smile at me ♪

1089
01:35:49,332 --> 01:35:52,752
♪ Let’s go this discussion
Over Rio percussion ♪

1090
01:35:52,836 --> 01:35:54,313
♪ It’s like this, y’all
Everything is gushing ♪

1091
01:35:54,337 --> 01:35:56,089
♪ A little bit of water ♪

1092
01:35:56,172 --> 01:35:58,133
♪ It’s what the sons
And daughters ♪

1093
01:35:58,216 --> 01:35:59,902
♪ When they come to Brazil
It’s all in order ♪

1094
01:35:59,926 --> 01:36:02,095
♪ Gotta go down
Gotta hold down ♪

1095
01:36:02,178 --> 01:36:04,097
♪ Shout out to my man
Green from Motown ♪

1096
01:36:04,180 --> 01:36:06,391
♪ But we comin’ back
To Brazil to feel ♪

1097
01:36:06,474 --> 01:36:07,952
♪ The type of things
That’s real, yo ♪

1098
01:36:07,976 --> 01:36:10,020
♪ Everybody chill and just ♪

1099
01:36:16,109 --> 01:36:17,986
♪ Sabor do Rio ♪