Released in 1978, Don't Ask My Neighbors was the second and last album that George Duke produced for Raul De Souza. For the most part, Duke serves the Brazilian trombonist well, but this vinyl LP isn't without its flaws. Duke sometimes overproduces, and a few of the tracks are weak – especially De Souza's disappointing versions of major R&B hits of the late '70s. Instead of really interpreting the Emotions' "Don't Ask My Neighbors," De Souza provides a pointless note-for-note cover and turns the song into elevator muzak. He doesn't fare much better on Michael Henderson's "At the Concert," which is marred by robotic female background vocalists who insist on singing the chorus instead of getting out of the way and allowing De Souza's trombone to be dominant.

This nearly forgotten Brazilian trombonist - a protégé of Airto Moreira and Flora Purim who made a moderate impact in the U.S. in the '70s only to mysteriously give it up and return to Brazil and subsequent obscurity - resurfaces on a CD reissue of a star-studded session from 1974. Producer Airto, who appears frequently on percussion (never mind the camouflaged percussion credits "Kenneth Nash and others; " one shake and you know it's Airto), succeeded in enlisting J.J. Johnson to make the horn arrangements and getting the polyrhythmic drums of Jack DeJohnette to drive the session. Cannonball Adderley makes one of his last appearances on record (he died nine months later), his alto sax burning in an otherwise cluttered stab at Baden Powell's "Canto de Ossanha," and venturing on the outside on "Chants to Burn"…

In the United States, Brazilian trombonist Raul De Souza is best known for his Capitol releases of the late '70s. But his first session as a leader actually came in 1964, when he recorded À Vontade Mesmo for the Brazilian market. The LP wasn't released in the U.S., and it wasn't until the '70s that De Souza provided any American releases. These 1964 performances are excellent. When De Souza (who is listed as Raulzinho) recorded this album, the bossa nova explosion was in full swing - and plenty of musicians (both Brazilian and American) were trying to cash in on bossa nova's popularity. But while À Vontade Mesmo is instrumental Brazilian jazz, the album isn't bossa nova - certainly not in the Stan Getz/Charlie Byrd sense…