Do It Again / Branches (O Galho Da Roseira)
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Album Summary
Eumir Deodato's 1974 single-focused release 'Do It Again / Branches (O Galho Da Roseira)' arrived at the height of his creative and commercial momentum, a time when this Brazilian maestro was setting the jazz-fusion world on fire. Issued on the legendary CTI Records — that New York powerhouse run by the visionary Creed Taylor — and produced by Deodato himself, this record was a showcase of everything that made him one of the most electrifying keyboard voices of the decade. Coming in the wake of his landmark crossover success, Deodato brought his signature fusion of Brazilian grooves, lush orchestration, and jazz sophistication to bear on these two sides, cementing his place as a giant of the era.
Reception
- The release landed in a fertile moment for jazz-fusion, drawing positive attention from fans and critics who had already embraced Deodato's crossover appeal following his earlier CTI triumphs.
- CTI Records' reputation as a tastemaker label ensured strong visibility in both jazz and pop-oriented markets, positioning the record favorably among the era's fusion releases.
Significance
- The pairing of 'Do It Again' and 'Branches (O Galho Da Roseira)' stands as a document of the early-to-mid 1970s fusion movement at its most soulful, weaving Brazilian rhythmic sensibility into a keyboard-driven jazz framework that felt both adventurous and deeply accessible.
- Deodato's work on this release exemplifies CTI Records' broader mission of bridging sophisticated jazz artistry with mainstream appeal, helping define the label's legendary catalog and the crossover identity of the fusion era.
- The Brazilian cultural thread running through 'Branches (O Galho Da Roseira)' reflects Deodato's enduring connection to his roots, representing one of the era's most compelling fusions of North American jazz production values with South American musical tradition.
Tracklist
-
A Do It Again 125
3:30
-
B Branches (O Galho Da Roseira) —
2:56
Artist Details
Eumir Deodato is a brilliantly gifted Brazilian keyboardist, arranger, and producer who emerged from Rio de Janeiro in the 1960s and truly exploded onto the international scene in 1973 with his funky, electric reworking of Richard Strauss's "Also Sprach Zarathustra," a track so bad and so beautiful it burned up the charts and earned him a Grammy Award. This cat was the master architect of that lush, orchestral-meets-jazz-fusion sound that bridged the worlds of classical, bossa nova, and straight-up groove, and his work as an arranger for legends like Frank Sinatra, Roberta Flack, and Kool and the Gang only cemented his status as one of the most quietly influential figures in popular music history.
