Oct 4, 2016

RhoDeo 1640 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 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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As the second Brazilian wave neared its crest, Milton Nascimento signed with CBS and brought forth a typically eclectic offering, with contributions from familiar collaborators Wagner Tiso, Robertinho Silva, Uakti, and some stellar North American admirers. The key coup of the record was Nascimento's duet with Paul Simon on the reflective "Dream Merchant" (he would later return the favor by appearing on Simon's brilliant Brazilian/African The Rhythm of the Saints album), with Herbie Hancock on electronic layered keyboards. Keyboardist Don Grusin, guitarist Eric Gale and drummer Alex Acuña turn up now and then, and Hancock and old collaborator Wayne Shorter almost -- but not quite -- take over "Mountain." The lovely "Heart Is My Master" is almost a lush throwback to his breakthrough in the bossa nova era -- and indeed, he revisits one of his early standards, "Morro Velho," in an affectingly lush production supervised by Nascimento aficionado Quincy Jones. "Letter to the Republic" is a measured, post-military-government, state-of-the-state address by Nascimento to the Brazilian people, and the concluding "Songs and Moments" finds Milton Nascimento again addressing his fans directly, explaining why he does what he does.

Milton Nascimento - Yauarete  (flac  244mb)

01 Blue Planet (Planeta Blue) 3:38
02 Dream Merchant (O Vendedor de Sonhos) 4:08
03 Jaguar (Yuarete) 3:00
04 Enchanted City (Cidade Encantada) 3:45
05 Heart Is My Master (Meu Mestre Coracao) 3:54
06 Children's Dance (Danca Dos Meninos) 3:19
07 Eldorado 3:39
08 Letter to the Republic (Carta a Republica) 3:25
09 Old Hill (Morro Velho) 5:07
10 Mountain 4:55
11 Songs and Moments (Cancoes e Momentos) 3:40

 Milton Nascimento - Yauarete    (ogg  103mb)

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"Txai" is described as a term of respect for those who are allies of the forest -- and such is the focus of this concept album, the end result of a fact-finding voyage through part of the northern Brazilian watershed. Utilizing forces ranging from a simple dialogue between Milton Nascimento's baritone and percussion to a large orchestra and chorus (often arranged by Wagner Tiso), Nascimento shares his thoughts about the rivers and nature, ultimately warning us not to let the forces of capitalism destroy the Amazon rain forest (reinforced by a spoken passage written and narrated by actor River Phoenix). The songs are separated by wild-sounding interludes of folk music from the peoples of the region, and there is a fascinating vocal/percussion arrangement of Heitor Villa-Lobos' "Nozani Na." As much as one applauds the sentiments and sincerity of Nascimento -- and as much as one wants to enjoy this record -- one is still forced to admit that despite the unity of conception, Nascimento's own material isn't as strong as it could have been. But the record's ambition and the continued allure of Nascimento's voice will commend it to the dedicated fan.

Milton Nascimento - Txai     (flac  216mb)

01 Abertura 1:16
02 Txai 4:07
03 Baü Mētóro 0:35
04 Coisas Da Vida 5:01
05 Hoeiepereiga 0:41
06 Estórias Da Floresta 1:33
07 Yanomami E Nós - Pacto De Vida 4:12
08 Awasi 0:46
09 A Terceira Margem Do Rio 3:50
10 Benke 3:45
11 Sertão Das Águas 2:29
12 Que Virá Dessa Escuridão? 2:23
13 Curi Curi 1:16
14 Nozanina 2:20
15 Baridjumokô 1:56

Milton Nascimento - Txai    (ogg  94mb)

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Nascimento is Milton Nascimento's most deeply Brazilian-sounding album in a long time, and also the most downcast, but none the worse in its emotional impact. He adopts the battering, heavy percussion rhythms of the folia boxes (popularized by Olodum) on several tracks, which frame the main portion of the album and give it enormous vitality. There isn't a bumper crop of new songs here (only half of the 12 tracks), but what there is represents the most interesting material he has recorded in some time, including the beautiful "Rouxinol" with its haunting accordion, flute and a gently hypnotic rhythm, and the arresting "Louva-A-Deus," pitting Nascimento's voice against the huge drums. Particularly affecting is Léo Masliah's "Guardanapos de Papel," sung in Portuguese at first and reprised in Spanish at the album's close, which has an almost despairing Nascimento singing about prophetic yet impoverished poets with tasteful piano/keyboard textures. He offers a touching vocalese on his friend Wayne Shorter's "Ana Maria" from their collaboration Native Dancer as a memorial to Shorter's late wife (lost on the TWA plane that crashed into the Atlantic in 1996), with soprano saxophonist Nivaldo Ornelas offering a different take on Shorter's lead. Just about everyone seems to take on "Ol' Man River" sooner or later, but Nascimento does it as a vocalese with large choir -- and it works. So far, this album represents his best work of the '90s and even a good part of the '80s, a genuine renaissance for the Brazilian icon.

Milton Nascimento - Nascimento   (flac 291mb)

01 Louva-a-deus 3:07
02 O Cavaleiro 3:42
03 Guardanapos De Papel (Portuguese Version) 5:24
04 Cuerpo Y Alma 3:59
05 Rouxinol 3:15
06 Janela Para O Mundo 4:04
07 E Agora, Rapaz? 4:43
08 Levantados Do Chão 3:16
09 Ana Maria 5:18
10 Ol' Man River 3:33
11 Os Tambores De Minas 3:19
12 Biromes Y Servilletas (Spanish Version) 5:24

Milton Nascimento - Nascimento      (ogg 118mb)

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To lovers of Brazilian jazz, the pairing of these two legends of the genre amounts to something of a musical orgasm. The only serious misfire isn't really that bad, just a bit incongruous. Why would two consummate Brazilian ambassadors choose to do their one English lyric song -- George Harrison's "Something" -- as a reggae tune? The groove is silly, but actually some of the guitar work is fun. Just as when Ivan Lins sings in his native Portuguese rather than stilted English, this tandem is most at home conveying emotions that go beyond simple semantics, usually with Gil writing the music and Nascimento the lyrics. "Sebastian" is a moody bass-and-drum driven power ballad which functions as a showcase to their raspy vocals. The romantic, accordion-enhanced "Duas Sanfonas" would be more effective without the guest vocals by Sandy and Junior. "Bom Dia" begins as a plaintive, folksy piece before evolving into a powerful spiritual statement via orchestral sweetening and the Sao Jose School Girls Choir. "Maria" is one of the disc's most honest emotional statements simply because it features Gil and Nascimento's two voices, gentle guitar accompaniment, percussion, and only subtle orchestral harmonies. "Lar Hospitalar" is a spirited funk piece that sweeps the listener up in its danceable grooves and sassy horns. The album has lots of odd mood swings, going from that number to the film score-like "Yo Vengo a Ofrecer" and "Dora" in the blink of an eye. This would have been an even better project if it focused on the two major talents involved more than trying to add too many oddball elements to the mix.

Gilberto Gil & Milton Nascimento - Gil & Milton (flac 364mb)

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

Gilberto Gil & Milton Nascimento - Gil & Milton  (ogg  136mb)

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