The digital record label of Luso Mundo Institute is a non-profit dedicated to the documentation of Lusophone music that has been previously unavailable and/or ignored by the commercial recording companies. This digital label is inspired by the work done by other archive preservation entities that exist in the non-profit world as well as some initial projects done by LB Ventures (see bottom of page)

Our aim is to preserve, resurrect, and re-record or digitize and digitize the treasures, classics, and compositions of past singers, songwriters, and composers that would not otherwise be represented in the catalogues of the commercial recording companies.

We are dedicated to supporting cultural diversity and increased understanding of the Lusophone genres through the documentation, preservation, and dissemination of the Lusophone sound.

We believe that musical and cultural diversity contributes to the vitality and quality of life throughout the world. Through the dissemination of audio recordings, video, and educational materials we seek to strengthen people's engagement with this cultural heritage and to enhance their awareness and appreciation of the cultural heritage of others.

Portugal and its former colonies are linked musically by the shared influence of fado, a bluesy form of music derived from itinerants in Lisbon.

In varying forms, the genre has dominated Portuguese music since the early 20th century, and has also spread to its former colonies, especially Brazil, the African (Angola, Mozambique, Guinea-Bissau, Equatorial Guinea, Cape Verde and São Tomé and Príncipe), as well as the former Asian colonies.

Of all the Lusophone countries, the one with the most internationally renowned popular music is probably Brazil. One of the largest countries in the world, Brazil's mix of diverse African and indigenous styles with fado and other Portuguese traditions has produced an eclectic mix of styles, most famously including bossa nova, as well as samba, choro and lambada. Popular artists include Caetano Veloso, Gilberto Gil, CéU, Marisa Monte, and Roberto Carlos.

Portuguese fado has had some success internationally, artists such as Mariza, Ana Moura, Cristina Branco, and Mafalda Arnauth have made some decent inroads in North America. The pipeline of male and female fado singers is significant and many are already touring in Europe.

Cape Verdean morna, which is closely related to fado,has also had international success largerly led by barefoot diva, Cesaria Evora.  Cape Verde music’s roots has a natural affinity with the Latin, African and Portuguese market due to the “Cape Verdean music is unique: sweet, soulful version of the blues, which fuses West African rhythms and European sensibilities with Caribbean and Brazilian influences.” 

Furthermore, the CV musicians and artists are reputed for being virtuosos at live performances, which is significant for touring and concert revenues, and credibility with industry peers and critics.

Cesaria style is adult-oriented and only showcases sweet melancholy of morna, one of the many sub-genres of CV music and does not showcase several other music types and unique sound of the  archipelago such as the dance rhythm of funana and batuco, with influences from the waltz and contre-dances of Europe and the rhythms of Africa, Brazil and the Caribbean. 

Furthermore, the rise of other artists such as Lura,Tito Paris, Boy Ge Mendes, Bau and Sara Tavares is just the tip of the iceberg on an island filled with rich talents with the ability to showcase at least 4 other subgenres. The differentiated and unique sound of CV music is distinguished by the use of unique instruments and influences of numerous cultural genres.

Mozambique boasts popular timbila and marrabenta music, and Guinea-Bissau's gumbe scene once thrived, and most recently Manecas Costa has made some positive inroads in Europe.

Angolan semba accentuates the later crosscultural linking between the Lusophone countries -- it is related to Brazilian samba, but the origins are murky and unclear.  Waldemar Bastos is a example of a well know artist from that region.

In Asia, the influence is surprisingly stronger in Malaysia, Sri Lanka and East Timor. Both Malacca (with the joget, branyo, farapera and mata-kantiga) and Sri Lanka (with the kapirinya (cafrinha), baila and chikoti) carry traditional music styles and instruments of obvious strong portuguese influence.



Digital Record Label
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Angola        Brazil     Cape Verde   East Timor    Guinea        Macau     Mozambique    Portugal      São Tomé

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