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Pindorama 
1986
  1. Pindorama (Ayres, Sion, Bellinati, Stroeter, Wyatt) 05:15
  2. Alakãi (Hermeto Paschoal) 03:00
  3. Lundu (Paulo Bellinati) 06:07
  4. Modinha (Paulo Bellinati) 04:35
  5. Fogo no Baile (Nelson Ayres) 07:11
  6. Dança (Martelo) da Bachianas Brasileiras nº 5 (Heitor Villa-Lobos) 04:26
  7. Só por Amor (Baden Powell/Vinícius de Moraes) 03:35
  8. Bye Bye Brasil (Roberto Menescal/Chico Buarque) 03:36

    9. Bonus tracks

  9. Caminho de Casa (Nelson Ayres) 07:23
  10. Estilingue (Paulo Bellinati) 08:10
Nelson Ayres - piano and keyboards
Rodolfo Stroeter - electric and acoustic bass
Paulo Bellinati - acoustic guitar and guitar
Roberto Sion - sax and flutes
Bob Wyatt - drums

Special guests: Hermeto Pascoal keyboard) and Marlui Miranda (voices and percussion) in "Alakãi"; Dirceu Medeiros ('berimbau' and percussion), Oswaldinho da Cuíca (congas) and Ubaldo ('agogô' and 'surdo') in "Lundu".

Recorded at studio Copacabana in Sao Paulo
Mixed by Vicente Salvia and Rodolfo Stroeter at estúdio Cardan, São Paulo
Remastered by Lelo Nazario at Utopia Studio in São Paulo in February, 2012
Design - Elifas Andreato 
Bonus track: recorded at Radio Suisse Romande in Geneva, Switzerland in 1986

Pindorama, second album of the quintet, has an important role in the group’s evolution, it endowed Pau Brasil with a personality. The repertoire includes great Brazilian composers as Heitor Villa-Lobos, Chico Buarque, Baden Powell and Hermeto Pascoal besides brand new themes created collectively by the group.
The album features Dança (Martelo) from ‘Bachianas Brasileiras nº 5’, first Pau Brasil's re-reading from a work by Heitor Villa-Lobos.
We can also highlight the track 'Lundu' by Bellinati. “It was a laboratory of sounds – really descriptive, almost like a soundtrack”, the composer describes how the group brought chains, whips and other unusual objects into the studio in order to produce noises that allude to the violence perpetrated upon the slaves.
‘Pindorama’ – the opening track – was conceived in the studio. “We decided to create an opening theme for the record. Someone suggested the rising phrase, although we weren’t thinking of the harmony yet. Somebody else responded with that phrase and then we worked the bridge into it. It was a group effort”, Roberto Sion recalls.