Sérgio Mendes: 10 Songs That Shaped the Brazilian Legend’s Storied Career

Sérgio Mendes, the pianist who gifted the world with the most famous version of the Brazilian classic “Mas Que Nada,” died on Thursday. Born in 1941, Mendes was a 20-year-old musician when he first arrived in the U.S. to perform at a historic Carnegie Hall concert that brought many bossa nova legends to New York in 1962. Two years after the show, Mendes moved to Los Angeles and never left the U.S. He also never abandoned Brazilian music, becoming one of the most significant ambassadors of bossa nova and samba around the world.

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Mendes was born in Niterói, across Rio’s bay,and began playing piano professionally at the age of 16. Fond of jazz legends such as Art Tatum and Duke Ellington, he found his place in the burgeoning bossa nova wave that took Rio’s hip clubs by storm in the late 1950s. Tom Jobim and Jorge Ben Jor were among the artists he befriended during that time, and those musical bonds would last throughout his life.

In the U.S., the pianist expanded the reach of Brazilian music beyond bossa nova, forging connections over decades and introducing new sounds. Mendes experimented with jazz, funk, AOR, and even pop, as seen in his collaboration with the Black Eyed Peas in 2006 (a new version of his immensely popular hit “Mas Que Nada” again topped the charts). With his distinctive style as a musician and arranger, the maestro released more than 35 albums in a 60-year career. Here are the songs that highlight key moments in his life.

“Dance Moderno” (1962)

On his first album, a 20-year-old Mendes introduced himself to the world with credentials that would make his name shine for six decades. Dance Moderno is his ode to the pianists and bandleaders who shaped his early years in music; he pays tribute to luminaries from Brazil and the U.S., including Johnny Alf and Cole Porter, composer of “Love for Sale.” In Mendes’ hands and orchestration, the famed foxtrot is reborn as a steamy Latin jam, with its main phrase shifting from an energetic punch to a tranquil flow in the blink of an eye.

“Mas Que Nada” (1963)

A few months after arriving in the U.S., Mendes was invited to release an album under the Herb Alpert series, an imprint by the American trumpeter that focused on emerging jazz sounds. Mendes chose to open the album with “Mas Que Nada.” Little did he know that the song, written by his then-young fellow musician Jorge Ben Jor, would become his ticket to the forefront of the music scene. With impeccable rhythm, hammering high-pitched chords, and gently caressing the lower registers, Mendes delivers a masterclass in samba-jazz that is all about Brazil. The lyrics were in Portuguese, but not even another language posed an obstacle to reaching the top charts. Mendes bursts out such a swing on keys that audiences all over the world couldn’t help falling for the song.

“Batida Diferente” (1964)

“Batida Diferente” translates to “Different Beat,” a title that fits perfectly with bossa nova (“the new wave”). Tom Jobim encouraged Mendes to pursue his own unique piano style, a blend of samba and jazz with a foundation of classical techniques. That’s exactly what Mendes delivers in this song. He finds elegant solutions to build-ups, shifts in tempo, and intricate handwork, whether he’s emphasizing long melodic phrases or rhythmic strides. Additionally, Mendes showcases his leadership by allowing flutist Hubert Laws to shine, knowing exactly when to step aside, as any great bandleader does.

“My Favorite Things” (1968)

By 1968, “My Favorite Things” was already a staple in the U.S. songbook, due to its appearance in The Sound of Music and John Coltrane’s hyper-focused rendition on his 1961 eponymous album. Using this waltz by Rodgers and Hammerstein as the central theme of an album was no small challenge — and Mendes knew he was up to it. Along with his band, he reshapes the song into a groovy Latin ballad, blending elements of early salsa with a hint of the funkiness that would define the 1970s. This version reveals a version of Mendes beginning to step beyond the boundaries of bossa nova, embracing the U.S. pop scene.

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“Song of No Regrets” (1969)

Though Mendes has secured his place in music history as a pianist known for crafting catchy renditions that bridge pop and jazz, Brazil and the U.S., he was also a skillful arranger and a creative composer. He masterfully balances these roles in “Song of No Regrets,” a majestic and soothing piece centered around Lani Hall’s deep, soulful vocals. Through various sections, Mendes unfolds a languid and beautiful musical dream, with the help of his orchestra, while barely touching his piano.

“Moanin'” (1969)

By the late 1960s, Mendes had firmly established himself in the U.S., engaging with artists who were expanding jazz into pop territory and an industry hungry for radio-friendly formats. Ye-Me-Le is his response to this environment: Mendes embraces the easy-listening tide while maintaining his distinct identity on the keys. His rendition of “Moanin'” exemplifies this approach with style. He reinvents one of Art Blakey’s most famous standards into an exhilarating, straightforward Latin jazz jam at the intersection of bebop and proto-AOR.

“Tô Voltando” (1979)

After years of promoting Brazilian music internationally, Mendes turned his attention back to his home country with Horizonte Aberto . While the album may not be his most inventive, it highlights a musician who never lost touch with his roots and his people. “Tô Voltando” (“I’m Coming Back”), released in 1979 by singer Simone, quickly became an anthem for Brazilian artists who had to flee the country during the 1960s military coup. In his version, the pianist blends in with his ensemble into a rousing sing-along samba that resonates deeply with the homesickness of those who were forced to leave.

“Never Gonna Let You Go” (1983)

Described by record producer Rick Beato as “the most complex pop song of all time,” “Never Gonna Let You Go” is an exuberant showcase of Mendes’ talent for crafting accessible yet compelling radio hits. His modulation between joyful and tense chords, discovering unconventional routes beyond typical bridge and pre-chorus formats, is impressive and perfectly mirrors the song’s lyrical theme, which revolves around a couple on the verge of breaking up. The result was a track that topped the charts in both the U.S. and Brazil, where it soundtracked the telenovela Final Feliz .

“Magalenha” (1992)

Brasileiro earned Mendes his first Grammy award for “Best World Music Record.” The win was largely thanks to the single “Magalenha,” a percussion-heavy samba-reggae track from Bahia’s own Carlinhos Brown. As Mendes recalled in an interview, Brown reached out to him with a phone call at 2:30 p.m. “I made a song for you,” he said. Mendes later teamed up with Brown in Salvador to record the song, which over the years became a recognizable “Made in Brazil” sound. It resonates with Brazilian audiences but bursts with green and yellow energy on the international stage.

“Samba da Benção” (2006)

From the late 1990s to the 2000s, Mendes was rediscovered by younger audiences, crate diggers, and emerging artists. The likes of Will.i.am and Erykah Badu found in the maestro a direct link to Brazilian music, a connection that resulted in Timeless . The 2006 album features a roster of stars from both the U.S. and Brazil. With Rio rapper Marcelo D2, Mendes delivers a fresh, hip-hop take on “Samba da Benção,” an all-time classic by guitarist Baden Powell and poet Vinicius de Moraes.

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