Hello, well the debate just ended and Trump managed to ignore every serious question and Clinton failed to pounce him on it. What so many americans see in Trump beats me. Clinton could have scored with him not paying income tax or even his bills. Then his waffling about 5 trillion dollars kept outside the US because of burocracy right that's an euphemism for taxes that these multinationals owe on that cashpile but hey let's give these crooks more is Donald's big idea. I'm no fan of Hillary and she clearly is a person that's inclined to take on too much on her plate. She's like a plate spinner and inevitably some plates will crash but hey you'd rather watch Trump spin the one golden plate with his name on it ?...
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 adoptve 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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Geraes was recorded in 1976. At this point, Nascimento had had an experience with fusion in the Som Imaginário, and with jazzers such as Herbie Hancock (who had recorded with him in the previous year's Milton) and Wayne Shorter (Native Dancer). For this album, Nascimento experiments economically with orchestra, trying to recover his roots -- the culture of the Minas Gerais state, whose already strong civilization made possible an expressive Baroque and sacred music in the 17th century. Therefore, the atmosphere here is not as swinging, but it reaches deeper emotional dimensions in some hits, like the bucolic "Fazenda," the religious folkloric "Calix Bento," the Latin "Volver a los 17," the fundamental "O Cio da Terra," and others. The album also has special guest Chico Buarque on his "O Que Será (À Flor da Pele)."
Milton Nascimento - Geraes (flac 254mb)
01 Fazenda 2:40
02 Calix Bento 3:30
03 Volver A Los 17 5:10
04 Menino 2:47
05 O Que Será (À Flor Da Pele) 4:10
06 Carro De Boi 3:40
07 Caldera 4:25
08 Promessas De Sol 5:00
09 Viver De Amor 2:34
10 Lua Girou 3:42
11 Circo Marimbondo 2:55
12 Minas Geraes 5:13
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An elaborately produced piece of vinyl, Journey to Dawn was, alas, the result of yet another campaign to prematurely place Nascimento into the U.S. market in a big way. The cosmopolitan tropicalismo movement continued to leave its mark on Nascimento, placing the bossa nova on the back burner and replacing it with an urgency often generated by four-square rock rhythms and electric guitars, percussive sounds from the Brazilian jungle, and some orchestrations from California. Nascimento remains a mesmerizing performer in the studio with his manly baritone and keening falsetto, and there are plenty of memorable compositions -- including the hypnotic "Paula and Bebeto," which harkens a bit back to '60s bossa nova, the fascinating "Maria Tres Filhos," and the "Pablo" suite, which has some of the wild carnival atmosphere within it. Unfortunately, it was all too exotic for American audiences in the disco days (the lack of English-translated lyrics didn't help), so back went Nascimento to merely being a superstar in Brazil.
Milton Nascimento - Journey To Dawn (flac 205mb)
01 Pablo II, Pablo, Pablo II 4:45
02 Idolatrada 4:41
03 Unencounter 2:49
04 Maria Maria 3:08
05 Journey To Dawn 3:22
06 O Cio Da Terra 3:32
07 Paula & Bebeto 3:27
08 Maria Tres Filhos 2:34
09 Credo 3:37
10 Alouca 3:20
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This is a reissue of the original 1980 release, the first for Polygram after Milton Nascimento had left EMI. The album had the fundamental support of the melodic percussion of the Minas Gerais group Uakti, along with the usual robust orchestrations. Nascimento had a hit with "Canção da América," but several songs must be mentioned for their strong melodic qualities, like the folklore-tinged "Peixinhos do Mar," "Sueño Con Serpientes" (with Mercedes Sosa), Villa-Lobos' "Cantiga," and "Sentinela" (with singer Nana Caymmi showcasing her strong, personal voice timbre similar to Nascimento's, which serves wonderfully to convey the idea of religious devotion).
Milton Nascimento - Sentinela (flac 240mb)
01 O Velho 0:36
02 Peixinhos Do Mar 3:34
03 Tudo 4:03
04 Canção Da América 3:52
05 Sueño Con Serpientes 4:41
06 Roupa Nova 2:58
07 Povo Da Raça Brasil 0:20
08 Sentinela 7:30
09 Cantiga (Caicó) Tema Folclórico 2:58
10 Bicho Homem 1:30
11 Itamarandiba 3:12
12 Um Cafuné Na Cabeça, Malandro, Eu Quero Até De Macaco 3:39
13 Peixinhos Do Mar 0:20
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By the mid-'80s, PolyGram decided that the time had come for Milton Nascimento to become a big North American star -- indeed, he had not even performed in America at all until 1985 -- so they took his then-current release from its Brazilian affiliate and gave it a full-court press. The vehicle is a fairly uneven record for Nascimento, one heavily decorated by Wagner Tiso's digital synthesizers, loaded with Nascimento's exhortations for brotherhood and happiness yet not that well-stocked with memorable tunes. Nascimento takes on apartheid on "Lagrima Do Sul" with the help of Uakti's collection of exotic marimbas, and in one guilelessly autobiographical song, "Quem Perguntou Por Mim" ("Who Asked for Me"), he even acknowledges his role as Brazil's voice to the world. The moody instrumental "Vidro e Corte" finds Pat Metheny -- a longtime admirer of Nascimento -- taking the lead, but "Raca," with Steve Slagle's lightweight alto up front, is clearly aimed at American fuzak tastes. Although not one of Nascimento's best, the album did establish a foothold for him at last beyond the obscure import racks in North America and he has remained a presence there ever since. [The CD version contains an extra track.]
Nascimento - Encontros e Despedidas (flac 222mb)
01 Portal Da Cor (Threshold Of Colours) 4:09
02 Caso De Amor (Love Affair) 3:20
03 Noites Do Sertão (Country Nights) 2:34
04 Mar Do Nosso Amor (Sea Of Our Love) 3:21
05 Lágrimas Do Sul (Southern Tear) 3:40
06 Raça (Race) 2:49
07 Para Eu Parar De Me Doer (So I Can Stop Feeling Hurt) 3:03
08 Encontros E Despedidas (Meetings And Farewells) 3:35
09 Quem Perguntou Por Mim (Who Asked For Me) 3:52
10 A Primeira Estrela (The Morning Star) 5:02
11 Vidro E Corte (Glass And Cut) 4:40
12 Radio Experiência (Radio Experience) 2:45
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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 adoptve 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
xxxxx xxxxx xxxxx xxxxx xxxxx
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.
xxxxx xxxxx xxxxx xxxxx xxxxx
Geraes was recorded in 1976. At this point, Nascimento had had an experience with fusion in the Som Imaginário, and with jazzers such as Herbie Hancock (who had recorded with him in the previous year's Milton) and Wayne Shorter (Native Dancer). For this album, Nascimento experiments economically with orchestra, trying to recover his roots -- the culture of the Minas Gerais state, whose already strong civilization made possible an expressive Baroque and sacred music in the 17th century. Therefore, the atmosphere here is not as swinging, but it reaches deeper emotional dimensions in some hits, like the bucolic "Fazenda," the religious folkloric "Calix Bento," the Latin "Volver a los 17," the fundamental "O Cio da Terra," and others. The album also has special guest Chico Buarque on his "O Que Será (À Flor da Pele)."
Milton Nascimento - Geraes (flac 254mb)
01 Fazenda 2:40
02 Calix Bento 3:30
03 Volver A Los 17 5:10
04 Menino 2:47
05 O Que Será (À Flor Da Pele) 4:10
06 Carro De Boi 3:40
07 Caldera 4:25
08 Promessas De Sol 5:00
09 Viver De Amor 2:34
10 Lua Girou 3:42
11 Circo Marimbondo 2:55
12 Minas Geraes 5:13
xxxxx xxxxx xxxxx xxxxx xxxxx
An elaborately produced piece of vinyl, Journey to Dawn was, alas, the result of yet another campaign to prematurely place Nascimento into the U.S. market in a big way. The cosmopolitan tropicalismo movement continued to leave its mark on Nascimento, placing the bossa nova on the back burner and replacing it with an urgency often generated by four-square rock rhythms and electric guitars, percussive sounds from the Brazilian jungle, and some orchestrations from California. Nascimento remains a mesmerizing performer in the studio with his manly baritone and keening falsetto, and there are plenty of memorable compositions -- including the hypnotic "Paula and Bebeto," which harkens a bit back to '60s bossa nova, the fascinating "Maria Tres Filhos," and the "Pablo" suite, which has some of the wild carnival atmosphere within it. Unfortunately, it was all too exotic for American audiences in the disco days (the lack of English-translated lyrics didn't help), so back went Nascimento to merely being a superstar in Brazil.
Milton Nascimento - Journey To Dawn (flac 205mb)
01 Pablo II, Pablo, Pablo II 4:45
02 Idolatrada 4:41
03 Unencounter 2:49
04 Maria Maria 3:08
05 Journey To Dawn 3:22
06 O Cio Da Terra 3:32
07 Paula & Bebeto 3:27
08 Maria Tres Filhos 2:34
09 Credo 3:37
10 Alouca 3:20
xxxxx xxxxx xxxxx xxxxx xxxxx
This is a reissue of the original 1980 release, the first for Polygram after Milton Nascimento had left EMI. The album had the fundamental support of the melodic percussion of the Minas Gerais group Uakti, along with the usual robust orchestrations. Nascimento had a hit with "Canção da América," but several songs must be mentioned for their strong melodic qualities, like the folklore-tinged "Peixinhos do Mar," "Sueño Con Serpientes" (with Mercedes Sosa), Villa-Lobos' "Cantiga," and "Sentinela" (with singer Nana Caymmi showcasing her strong, personal voice timbre similar to Nascimento's, which serves wonderfully to convey the idea of religious devotion).
Milton Nascimento - Sentinela (flac 240mb)
01 O Velho 0:36
02 Peixinhos Do Mar 3:34
03 Tudo 4:03
04 Canção Da América 3:52
05 Sueño Con Serpientes 4:41
06 Roupa Nova 2:58
07 Povo Da Raça Brasil 0:20
08 Sentinela 7:30
09 Cantiga (Caicó) Tema Folclórico 2:58
10 Bicho Homem 1:30
11 Itamarandiba 3:12
12 Um Cafuné Na Cabeça, Malandro, Eu Quero Até De Macaco 3:39
13 Peixinhos Do Mar 0:20
xxxxx xxxxx xxxxx xxxxx xxxxx
By the mid-'80s, PolyGram decided that the time had come for Milton Nascimento to become a big North American star -- indeed, he had not even performed in America at all until 1985 -- so they took his then-current release from its Brazilian affiliate and gave it a full-court press. The vehicle is a fairly uneven record for Nascimento, one heavily decorated by Wagner Tiso's digital synthesizers, loaded with Nascimento's exhortations for brotherhood and happiness yet not that well-stocked with memorable tunes. Nascimento takes on apartheid on "Lagrima Do Sul" with the help of Uakti's collection of exotic marimbas, and in one guilelessly autobiographical song, "Quem Perguntou Por Mim" ("Who Asked for Me"), he even acknowledges his role as Brazil's voice to the world. The moody instrumental "Vidro e Corte" finds Pat Metheny -- a longtime admirer of Nascimento -- taking the lead, but "Raca," with Steve Slagle's lightweight alto up front, is clearly aimed at American fuzak tastes. Although not one of Nascimento's best, the album did establish a foothold for him at last beyond the obscure import racks in North America and he has remained a presence there ever since. [The CD version contains an extra track.]
Nascimento - Encontros e Despedidas (flac 222mb)
01 Portal Da Cor (Threshold Of Colours) 4:09
02 Caso De Amor (Love Affair) 3:20
03 Noites Do Sertão (Country Nights) 2:34
04 Mar Do Nosso Amor (Sea Of Our Love) 3:21
05 Lágrimas Do Sul (Southern Tear) 3:40
06 Raça (Race) 2:49
07 Para Eu Parar De Me Doer (So I Can Stop Feeling Hurt) 3:03
08 Encontros E Despedidas (Meetings And Farewells) 3:35
09 Quem Perguntou Por Mim (Who Asked For Me) 3:52
10 A Primeira Estrela (The Morning Star) 5:02
11 Vidro E Corte (Glass And Cut) 4:40
12 Radio Experiência (Radio Experience) 2:45
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3 comments:
many thanks
Can you please re-up "Geraes" and "Sentinela"? Muito obrigado!
Hello, can you reup Sentinela please?
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