Sep 20, 2016

RhoDeo 1638 Roots


The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.

Today an international singing superstar and songwriter, he may have his roots in Brazil, but his songs have touched audiences all over the world. Born in Rio, his adoptive parents, both white, brought him to Tres Pontas, a small town in the state of Minas Gerais, when he was two. He began singing as a teenager. When he was 19, he moved to the capital Belo Horizonte and began singing wherever and whenever he could. Finally he caught a break when the pop singer Elis Regina recorded one of his songs, "Canção do Sal," in 1966. Regina got him a showcase on a popular Brazilian TV program, and after performing at Brazil's International Song Festival the following year, his career was launched. ........N'Joy

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Milton Nascimento born October 26, 1942, Rio de Janeiro his mother, Maria Nascimento, was a maid. As a baby, Milton Nascimento was adopted by a couple who were his mother's former employers; Josino Brito Campos, a bank employee, mathematics teacher and electronic technician and Lília Silva Campos, a music teacher and choir singer. When he was 18 months old, Nascimento's biological mother died, and he moved with his adopted parents to the city of Três Pontas, in the state of Minas Gerais. Nascimento was an occasional DJ on a radio station that his father once ran. He lived in the boroughs of Laranjeiras and Tijuca in Rio de Janeiro.

In the early stages of his career, Nascimento played in two samba groups, Evolussamba and Sambacana. In 1963, he moved to Belo Horizonte, where his friendship with Lô Borges led to the Clube da Esquina ("corner club") movement. Members included Beto Guedes, Toninho Horta, Wagner Tiso, and Flávio Venturini, with whom he shared compositions and melodies.

Nascimento is famous for his falsetto and tonal range, as well for highly acclaimed songs such as "Maria, Maria", "Canção da América" ("Song from America"/"Unencounter"), "Travessia" ("Bridges"), "Bailes da Vida", and "Coração de Estudante" ("Student's Heart"). The lyrics remember the funeral of the student Edson Luís, killed by police officers in 1968. The song became the hymn for the Diretas Já social-political campaign in 1984, was played at the funeral of the late President of Brazil Tancredo Neves the next year, and was also played at Ayrton Senna's funeral.

In 1972 he collaborated with fellow lyricists Márcio Borges, Fernando Brant, Ronaldo Bastos, and other friends to record Clube da Esquina, a double album that spurred three hit singles, including "Cais (Dock)" and "Cravo é Canela (Clove and Cinnamon)." The singles are still being recorded and have become standards in Brazil over the years. Since he began recording with his self-titled debut in 1967 for the Codil label, Nascimento has written and recorded 28 albums.

O Planeta Blue Na Estrada do SolNascimento's many achievements include Grammy nominations for his O Planeta Blue na Estrada do Sol in 1992, and in 1995 for his Warner Bros. debut, Angelus. Nascimento is also winner of the 1992 Down Beat International Critics' Poll and the 1991 Down Beat Readers' Poll. Nascimento has toured throughout the U.S., Europe, Japan, and Latin America.His lengthy discography includes Courage, a 1969 album for A&M and Milton Nascimento that same year for EMI Odeon; Milton, also for the EMI Odeon label, recorded in 1970, and then four more albums for the label EMI Odeon: Clube da Esquina (1972), Milagre dos Peixes (1973), Milagre dos Peixes (Ao Vivo) (1973), and Minas (1975).

His other titles include Native Dancer (CBS, 1976), Geraes (EMI Odeon, 1976), Milton (A&M, 1977), Clube da Esquina 2 (EMI Odeon, 1978), A Brazilian Love Affair, a collaboration with George Duke (CBS Records, 1980), Journey to Dawn (A&M Records, 1979), and a series of five albums for Ariola: Sentinela (1980), Cacador de Mim (1981), Missa dos Quilombos (1982), Anima (1982), and Milton Nascimento ao Vivo (1983).

His output through the rest of the 1980s and '90s has been steady and reliable, though never musically predictable. Like any true jazz and pop veteran, Nascimento has a deep need to keep challenging himself, vocally, lyrically, and stylistically. Nascimento's other releases include Encontros e Despedidas for Barclay in 1985, Corazon Americano for PolyGram in 1986, A Barca dos Amantes for Barclay in 1986, Milton/RPM for Epic/CBS in 1987, Yauaretê for CBS in 1987, Miltons in 1988 for CBS, Txai for the same label in 1990, and O Planeta Blue na Estrada do Sol for CBS in 1991.

Amigo In the mid-'90s, Nascimento switched to Warner Bros. He released two excellent, readily available albums for the label, Angelus, his 27th recording, in 1995, Amigo in 1996, Nascimento in 1997, and Crooner in 1999. He returned after a short hiatus in 2003 with Pieta, followed by The Essential Collection: The Best of the EMI Odeon Years (1969-78) in 2006.

This charismatic Brazilian superstar just won't slow down any time soon, and whether he's packing a stadium in Brazil or singing at a club in New York, his experienced stage persona allows everyone in the audience to feel as if they're in his living room. On Angelus, he's joined by saxophonist Wayne Shorter, who pays tribute to Nascimento's 1975 Native Dancer LP, the high point of which was the synthesis between Nascimento's voice and Shorter's saxophone. That album helped to solidify Nascimento's place on the international jazz and pop scene in the 1970s. Whatever he writes and sings about, be it the planet, ways of living, and loving and dying, his music has always carried an eternally optimistic spirit. As he entered the millennium, Nascimento won a Grammy for Best Contemporary Pop Album for 1999's Crooner at the first annual Latin Grammy Awards in fall 2000.

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Milton Nascimento's first album for North American ears, recorded at Van Gelder Studios in New Jersey under the watchful eye and discerning ear of Creed Taylor, is a masterpiece, a gorgeously executed tour through his early songs. Backed beautifully by Eumir Deodato's lush orchestrations and a clutch of sidemen from the Taylor stable (including Herbie Hancock, Airto Moreira, and Hubert Laws), Nascimento unveils one first-class tune after another, many of which would ignite a rush of cover versions. Among the songs North Americans heard for the first time were "Vera Cruz," "Tres Pontas," "Morro Velho," the scatted "Catavento," and the intensely moving "Bridges" ("Travessia")" -- the latter which launched Nascimento's name on the world music scene. Singing in English, Portuguese, and often with no words at all, Nascimento's odd yet masculine and expressive baritone stands out like a moaning foghorn from the smooth A&M/Taylor sonic formula, a haunting combination. This was Nascimento before tropicalismo, when he latched onto the tail end of the bossa nova movement and quickly became one of its most inspired performers and songwriters. To some admirers, Courage remains his best record, period.

Milton Nascimento - Courage  (flac  207mb)

01 Bridges (Travessia) 3:49
02 Vera Cruz 3:10
03 Tres Pontas 2:36
04 Outubro (October) 4:09
05 Courage 3:23
06 Rio Vermelho 3:19
07 Gira Girou (Round N' Round) 3:21
08 Morro Velho 4:26
09 Catavento 2:26
10 Cancao Do Sol (Saltworkers Song) 3:06

 Milton Nascimento - Courage    (ogg  80mb)

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A classic double LP recorded in 1972 by Milton Nascimento and Lô Borges, the album had orchestrations from Eumir Deodato and Wagner Tiso under the conduction of the renowned clarinetist/composer/orchestrator Paulo Moura. The title Clube da Esquina is related to the gang of mineiros (people from the Minas Gerais state) that populate this release, either singing compositions or vocal/instrumental performances, like Nascimento and Borges themselves: Wagner Tiso, Beto Guedes, Milton Guedes, Tavito, Toninho Horta, Márcio Borges, Ronaldo Bastos, and Fernando Brant, among others. The album covers a great number of Clube da Esquina hits, like "Tudo Que Você Podia Ser," "Cais," "O Trem Azul," "Caravo E Canela," "Um Girassol da Cor do Seu Cabelo," "San Vicente," "Clube da Esquina No. 2," and so many others, with the competent backing of some of the best musicians in Brazil, including bassist Luiz Alves and percussionist Robertinho Silva. A must-have.

Milton Nascimento e Lô Borges - Clube da Esquina   (flac  486mb)

01 Tudo Que Você Podia Ser 2:57
02 Cais 2:45
03 O Trem Azul 4:05
04 Saídas E Bandeiras Nº 1 0:45
05 Nuvem Cigana 2:59
06 Cravo E Canela 2:31
07 Dos Cruces 5:22
08 Um Girassol Da Cor De Seu Cabelo 4:12
09 San Vicente 2:46
10 Estrelas 0:28
11 Clube Da Esquina Nº 2 3:38
12 Paisagem Da Janela 2:58
13 Me Deixa Em Paz 3:05
14 Os Povos 4:30
15 Saídas E Bandeiras # 2 1:30
16 Um Gosto De Sol 4:20
17 Pelo Amor De Deus 2:06
18 Lilia 2:33
19 Trem De Doido 3:58
20 Nada Será Como Antes 3:23
21 Ao Que Vai Nascer 3:20
  Milton Nascimento e Lô Borges - Clube da Esquina    (ogg  155mb)

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One of Milton Nascimento's most experimental albums, Milagre Dos Peixes was originally released in 1974. Accompanied by the Som Imaginário, Nascimento presented this album in a theater show in Rio and São Paulo, with orchestra, and the result live recorded and released on a double album called Milagre Dos Peixes Ao Vivo. In one of the worst periods of military dictatorship, all lyrics were systematically censored, the reason why the album is instrumental. Not entirely, to be sure. He can be heard crying "Eu Tô Cansado" (I Am Tired), and he also sings the lyrics of "Sacramento," having the boy Nico Borges delivering "Pablo" with that mixture, so dear to Nascimento, of a poor boy's ingenuity filled with a religious aura. It can be said that this album was especially suited for the talents of Naná Vasconcellos, who adds so much life to it. A must-have classic.

Milton Nascimento - Milagre dos Peixes   (flac 216mb)

01 Os Escravos de Jó 3:12
02 Carlos, Lúcia, Chico E Tiago 6:03
03 Milagre Dos Peixes 2:51
04 A Chamada 4:18
05 Cadè-/Canto: Nico E Telo 3:58
06 Pablo II 3:13
07 Tema Dos Deuses 3:23
08 Hoje É Dia de el-Rey 6:55
09 Última Sessao de Musica 2:18
10 Sacramento 1:52
11 Pablo-Canto: Nico 2:53

Milton Nascimento - Milagre dos Peixes      (ogg 100mb)

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Milton (Minas) (referring to his home state of Minas Gerais) is a remarkably cohesive piece of work that stands as one of his finest. Recorded in 1976, "Milton" follows closely on the heels of "Native Dancer", the album that paired the gifted brazilian singer-song-writer Milton Nascimento with saxophonist Wayne Shorter and put him squarely in that international jazz-pop star corner. Once again Milton is backed by Shorter on soprano saxophone and Herbie Hancock on piano. Shorter's expert, sometimes airily ethereal horn complements Nascimento's yearning yet free-spirited baritone, a voice that ranges from a tremulous vibrato to a soaring, effortless falsetto, as on "Os Povos".

Milton Nascimento - Milton (flac 251mb)

01 Raça (Hasa) (Race) 3:35
02 Fairy Tale Song (Cadé) 4:11
03 Francisco 4:27
04 Nothing Will Be As It Was (Nada Será Como Antes) 3:53
05 Cravi E Canela (Clove And Cinnamon) 3:44
06 The Call (Chamada) 5:49
07 One Coin (Tostáo) 5:30
08 Saídas E Bandeiras (Exits And Flags) 4:45
09 Os Povos (The People) 8:06

Milton Nascimento - Milton  (ogg  107mb)

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Guitarradeplastico your favorite musician said...

maNY thanks

Anonymous said...

Hej Rho,
could you please re-up "Milton Nascimento e Lô Borges - Clube da Esquina"?
Thank you so much in advance!