Bajofondo, formerly known as Bajofondo Tango Club, is an Argentine-Uruguayan tango fusion collective led by Grammy-winning producer Gustavo Santaolalla. In general, the collective fuses acoustic tango with electronic music, resulting in a contemporary style representative of the Rio de la Plata music scene in the 21st century. Led by Santaolalla (guitar, percussion, vocals), whose production credits include such luminous Latin acts as Juanes, Café Tacuba, and Julieta Venegas, Bajofondo is also comprised of Juan Campodónico (programming, beats, samples, guitar), Luciano Supervielle (piano, keyboards, scratching), Javier Casalla (violin), Martín Ferrés (bandoneon), Gabriel Casacuberta (upright bass, electric bass), Adrián Sosa (drums), and Verónica Loza (VJ, vocals). They made their full-length album debut in 2002 with Bajofondo Tango Club on Santaolalla's Universal Music-affiliated boutique label, Surco Records. Subsequent albums include Bajofondo Tango Club Presenta: Supervielle (2004), Remixed (2006), and Mar Dulce (2007), the latter featuring an all-star list of guest features (most notably Gustavo Cerati, Nelly Furtado, Mala Rodríguez, Juan Subirá [of Bersuit Vergarabat], Elvis Costello.). In addition to their album releases, Bajofondo also releases club-oriented 12" EPs and tours internationally.
"Although the Argentinean Gustavo Santaolalla has become famous in recent years for his film work, he is also one of the most important Latin music producers of the last two decades and has produced albums for Café Tacva, Juanes, Molotov, Dividido, and Julieta Venegas, among others. Now the musician makes a comeback as the brain behind Mar Dulce, the commendable second album from Bajofondo Tango Club. (Santaolalla is also a member of the group). As on its first album, this group mixes electronic music with tango, but this album is far from being a mere copy of its predecessor. –Ernesto Sánchez Customer Reviews on amazon.com "
A popular Peruvian rock group in the late 1960s and early 1970s, Traffic Sound had a very British-influenced early progressive rock sound along the lines of Traffic and (more distantly) Jethro Tull. These similarities were evident in the band's use of flute and saxes, all played by Jean Pierre Magnet, who could also play vibes and percussion. What is surprising is that Traffic Sound, unlike other South American groups of the period that only came to light in the Northern Hemisphere in the 1990s, do not sound exotic or primitive. They simply sound like an accomplished minor-league 1970 rock band with considerable progressive, psychedelic, and soul influences informing their original material.
Emilinha Borba was the queen of Brazilian radio's golden era. Over four decades she cemented her position as one of the country's best-loved crooners, producing 117 records featuring more than 200 tracks, and exporting the Brazilian sound worldwide.