Here is a list of songs that should have been recorded with Lani Hall singing with a Samba-Jazz -style arrangement (particularly the rhythm section). Title track from Steely Dan's "Aja" (with more energy than the original ; in fact, Steve Gadd has indeed done Samba beats, in other places). I am thinking, the tempo of "Mas Que Nada" or the opening track of Bossa Rio (1969). "Alive and Well and Living In" by Ian Anderson, which appeared on Jethro Tull's Benefit album. (Ian's brilliant "Living in the Past" already has lot of Jazzy Samba elements, too.) The parallel octave male+female vocal (texture/arrangement style) would work great. "From the Beginning" Greg Lake (R.I.P.) appeared on E.L.P.'s Trilogy is pretty much tailor-made for a Samba-Jazz. In fact, no need to change notes. Keith Emerson's synth solo could be played (note-for-note, in fact) by flute. It's modal Jazz ('A' dorian mode). Lani's cool vocal tone/sound double-tracked would be perfect. Sergio could have continued his 1960s style and sound and approach with contemporary hits from the early 1970s. Imagine that! "Martha" by Paul Kantner, appeared on Jefferson Airplane's After Bathing at Baxter's. It has a Samba beat that just needs to be brought out (to the fore-front, and emphasized). Interestingly, the very first drummer of the Airplane (before Skip Spance) was a straight crew-cut marine who didn't fit the band and he played Samba/Latin rhythms on the drums (back in 1965). But Spencer Dreyden was a bit of a (West-coast) Jazz player, himself. The verse of "Martha" is 'A' dorian mode, as well. "Oh Well" by Peter Green (Fleetwood Mac). That could be a given a Samba lilt and be less laden Rock-Blues in style/approach. Lani's voice could be cool, and alluring. "Rock 'n Roll Woman" Buffalo Springfield Again (1967) - Stephen Stills (with some involvement of David Crosby) is sorta modal Jazz harmony (alternating bass between pitches 'F' and 'D'). This would (have) offer(ed) Lani Hall an opportunity to record something that she didn't do with Sergio in the '60s -- vocal harmonies -- as opposed to unison double-tracking of her voice. Imagine rich layers of overdubs -- speaking of which ... "South Side of the Sky" by Yes (Fragile). The middle would be challenging with unusual metres (rhythmic patterns). David Crosby, with his Jazz influences would have been good for that.