Many years ago, I got to attend a workshop given by a drummer/percussionist from Trinidad named Lennard Moses, and the main point of his presentation was that music is "linguistically linked."  Just like one can learn a foreign (spoken) language, but not be fluent in terms of the accent and idioms, musicians can learn elements of given styles of music outside of their own culture, but still not master the language.  Listen to these styles of music the same way you'd listen to a foreign language:  listen for the phrasing, the pacing, the cadences, etc.  These are the things that don't translate well to the printed page, and which (I'm guessing) are the elements you're looking to add to your own playing in these styles.  Listen to recordings, listen to live performances, and whenever possible, work with musicians who are fluent in these styles of music, and it'll start to rub off on your own playing.

A lot of the recordings and drummers I'm familiar with play bossas, sambas, etc., in more of a jazz context, and not pure Brazilian music.  These probably aren't the "state of the art" recordings, but these are some of the drummers and recordings that really helped me:

In terms of Brazilian music, I'd check out the following drummers:

Dom Um Romao
Portinho:  Manfredo Fest's Jungle Cat, and also several recordings with Paquito D'Rivera
Paulo Braga - a brilliant drummer; go get Joe Henderson's Double Rainbow to hear him on some great tracks; also, Eliane Elias' Eliane Elias Sings Jobim album.  I believe he also has recorded with A.C. Jobim.
Peter Erskine - one of the American drummers who really gets the stylistic elements and phrasing of Brazilian grooves, rather than just playing "Americanized" versions: check out his recordings with Eliane Elias Paulistana and Fantasia come to mind)

Also, get your hands on just about anything by Antonio Carlos Jobim.  I'd also strongly suggest listening to Brazilian guitarists, or singers who accompany themselves on guitar.  João Gilberto's Live In Montreux is a great resource for drummers.  The comping rhythms he plays on guitar can be applied very easily to snare drum work in bossas and sambas.  When listening to larger ensembles, check out the other instruments as well.  Guitar and piano comping rhythms often draw from the same rhythmic vocabulary; bass players are often influenced in their phrasing by the way percussionists play the surdo, the "bass drum(s)" in samba bands.

Which brings us to...

Perhaps most importantly, tho, check out recordings of actual samba bands.  So many of the rhythms and beats we American drummers know as "sambas" and "bossas" are built on rhythms played by several percussionists, each on one instrument:  pandeiro, tamborim, surdo, agogo, etc.  Go to the original source by checking out these instruments and rhythms in their original contexts:  it'll do wonders for your phrasing of these beats on drum set, and will expand your vocabulary well beyond "Page two, example number three:  'Samba.'"

I'd also suggest Ed Uribe's book on Brazilian drum set and percussion.  He does a great job of connecting the drum set interpretations of these beats to the original samba band instruments. 

James is spot on in his post.

The movie that popularized bossa nova in 1958 - "Orfeo Negro" (Black Orpheus), music by Jobim and Luis Bonfa.  Bossa nova, candomble, and as James described, the samba band playing batucada, on the soundtrack recording.

Many Cuban styles are represented in the movie "The Buena Vista Social Club" - you can use this as a starting point to check out the artists' and their other recordings.  And you'll hear the percussion ensemble playing the rhythms.

Another starting point for some great Cuban artists was the band Irakere - Chucho Valdez, Arturo Sandoval, aforementioned Paquito d'Rivera, Miguel "Anga" Diaz. among others.  This is more of a jazz flavor, but the latin flavor is very strong.

Another great recording is "Cachao The Master Sessions Vols. 1 and 2.