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A great collection of hard-to-find work from Milton Nascimento – compilation tracks, guest appearances, and special projects all recorded over the past decade or so – most of which are almost better than material from albums recorded under his own name! There's a number of wonderful duets on here – showing Milton's strong spirit of reaching out to a larger musical community – and a few solo numbers too – often surprising song choices that really show his skill as an interpreter. Titles include a duet on "Imagine" with Gilberto Gil, versions of "Caca A Raposa" and "Coisa No 8", and other cuts that include "Enfim SOS", "Angelus", "Sino Claro Sino", "Luar Do Sertao", "Circo Marimbondo", "I'd Have You Anytime", and "Discovery".

A great later journey in music from Milton Nascimento – a set that has him faltering a bit in the 90s, then really finding his sound! The first three albums in the set – Angelus, Amigo, and Nascimento – each have a slightly ambitious feel, but are often a bit more restrained than some of the work from Milton's classic years – still filled with the sense of soul and majesty that really set him apart from his contemporaries – but sometimes not finding their mark as much in terms of the production and overall arrangements. Yet Tambores De Minas helps correct that – but putting Milton in a live setting, and really re-exposing his core charm – energy that shines out no matter what the material, in a way that seems to re-seat him on the throne of Brazilian popular music. The set then ends with the majestic Pieta – a record that's warmer and richer than some of Nascimento's other recent albums – and a compelling batch of tunes that shows he's as strong as ever! The album's awash in a soaring, almost spiritual sound – as befits the title – but it's also got some interesting jazzy moments, and a breezy, honest presentation that pushes past the pretension that could mar the record. A surprisingly highlight is a remake of "Cantaloupe Island", done scatting Nascimento-style – with guest piano by composer Herbie Hancock, and guitar by Pat Metheny.

A beautiful later appearance from Milton Nascimento – songs recorded for a TV performance in Brazil, and arguably better than any of his studio albums from the time! The setting is quite spare – Milton on guitar and vocals, and longtime partner Wagner Tiso playing a strongly resonant grand piano – with tones that ring out rapturously, and help elevate Nascimento to the soulful heights of his classic 70s recordings! We can honestly say that, although obscure, the record's essential stuff for any fan of Milton – especially during the early days – and the whole thing offers up a really unique way to hear his genius at work. Titles include "Novena", "Morro Veolho", "Clube Da Esquinha", "Caso De Amor", "Ponta De Areia", "Paula E Bebeto", "Cais", "Por Causa De Voce", and "Travessia".

Every great album from Milton Nascimento – packaged here together in one sweet little set – and all done as cool special sets that contain individual book-style jackets too! The style is amazing – better than any other Brazilian box set like this we've seen – with each individual album done like one of the Abril Cultural book and CD sets – a hardcover case, lots of pages inside, with a wealth of notes and photos – plus all the essential music that makes these records so wonderful! The set begins with Nascimento's earliest albums – and runs through his excellent work for EMI/Odeon in the 70s – and even includes some great 80s albums too. Includes the full albums Milton Nascimento (1967), "Milton Nascimento (1969), Milton (1970), Courage, Clube Da Esquina, Milagre Dos Peixes, Milagre Dos Piexes Ao Vivo, Minas, Geraes, Cacador De Mim, Journey To Dawn, Milton (1976), Sentinela, Milton Nascimento Ao Vivo, Missa Dos Quilombos, A Barca Dos Amantes, Encontros E Espedidas, Anima, and Clube Da Esquina 2.

Legendary work from Milton Nascimento – one of his first LPs, and still one of his greatest! The record is amazing – a sublime blend of soulful vocals, baroque orchestrations, and just the right amount of jazzy touches – handled in a way that forever proclaimed Milton as one of Brazil's greatest artists, and which went onto shape the force of Brazilian pop for years to come. Every single track is a gem – and the album includes the classic "Para Lennon e McCartney", a solid solid groover – plus loads of other great ones like "Clube da Esquina", "Amigo, Amiga", "Durango Kid", and his excellent recording of "A Felicidade". Production is excellent, and the sound is extremely haunting! CD features 4 bonus tracks too!

Lo Borges looks surprisingly youthful in the artwork for this CD – and his music sounds the same – every bit as fresh and personal as when he first sprang onto the scene with Milton Nascimento at the start of the 70s! As with other recent efforts, the songwriting is superb – as thoughtful as ever, and put together with a gentle sort of cohesion that really makes the whole thing shine – amazingly subtle, and still some of the most naturalistic material you'll ever hear from Brazil! Production is very much up to the task, with a timeless quality that makes the record feel like some of Borges' best material from decades past. Titles include "Antes Do Sol", "On Venus", "De Mais Ninguem", "Xanana", "Da Nossa Criacao", "Quem Me Chama", and "Cancao Mais Alem".

Sublime work from Alaide Costa – a beautifully mature album from the late 80s, and one that has her working with a host of great guest help from the Milton Nascimento camp, and the jazzier side of the MPB spectrum! In addition to vocals from Milton on one cut, the set also features appearances by Rique Pantoja on keyboards, Gilson Peranzzeta on piano, Wagner Tiso on piano, Ivan Lins on vocals, Cristovao Bastos on piano, Paulinho Da Viola on vocals, Sebastiao Tapajos on guitar, and Toninho Horta on vocals and arrangements! The music is spare, but has this depth that works perfect with Alaide's rich vocals – often just a few instruments echoing out alongside Costa's lead, with the balance between fullnest and restraint that you'd find in the best recordings by Nascimento or Lins. Titles include "Absinto", "Amiga De Verdade", "Quem Sabe", "Estrada Do Sertao", "Cinema Antigo", "Mais Que A Paixao", and "Morrer De Amor". CD features two bonus tracks – "Dois Coracoes" and "Teu Simples Nao".

A wonderful album from George Duke – and one of our favorite records from his legendary years at Columbia! George Duke's always had plenty of Brazilian elements in his music – but this album really brings them all together – offering up a perfect blend of Duke's keyboards and Cali soul with some key additions from the Rio scene of the time – a mix of singers and musicians who really help round out the sound and authenticate George's ears for Brazilian music! The album was actually recorded down in Rio – and features great contributions from Simone, Milton Nascimento, Roberto Silva, Toninho Horta, and Airto – all working beautifully under Duke's leadership, on cuts that include "Brazilian Love Affair", "Cravo E Canela", "Brazilian Sugar", "Sugarloaf Mountain", "Ao Que Vai Nascer", and "I Need You Now". CD features a single edit of "Brazilian Love Affair".

An amazing moment from the Brazilian music scene of the 70s – an album that's both extremely personal for each of the artists involved, yet also a wonderful collaboration between a host of up-and-coming talents! There's a relaxed, intimate feel to the whole thing that's mighty nice – almost an echo of the album's back cover photo, which shows the four key players posed inside a tiny water closet – and the overall approach is quite similar to the best Milton Nascimento/Minas Geraes work of the time – no surprise, as there's a fair bit of ties here to that scene too! Each of the four artists gets to sing lead at some point – stepping out on songs that are their own, yet which are also unified in sound, given shared musicians and spirit, too. Guests include Lo Borges, Nelson Angelo, Wagner Tiso, Tenorio Jr, and Nana Caymmi – who each leave their musical mark – and title sinclude "Caso Voce Queira Saber", "Belo Horror", "Manuel O Audaz", "Viva Eu", "Ponta Negra", and "Luiza".

A contemporary set, but one that's unlike any other recent Brazilian recording we can think of – given the very unique vibe that Mauricio Maestro is going for! You might know Mauricio from his mid 70s work with Joyce on Visions Of Dawn – and although this set is a recent recording, it has a same sort of classic feel overall. The sound here has deep rhythms and folksy touches – a warm acoustic mode, but topped with some slight electricity and larger arrangements – a bit like some of the more creative sounds in the Brazilian underground during the post-Tropicalia years – yet with a richness that takes it much farther too! Maestro handled the arrangements, and he brings in a jazz-tinged quality that's not unlike the Milton Nascimento generation – yet the overall approach is earthier too, and vocals are handled by Mauricio, percussionist Nana Vasconcelos, and Kay Lyra – swirled up with a bit of light string backings that really help the record soar to the skies! We'd rank this one right up there with classics from the 70s by Joyce or Edu Lobo – but we also recognize that it's very much it's own record too. Titles include "Jungle Bells", "Agua Clara", "Canto Do Paje", "Todos Os Santos", "Ciclo Da Vida", "Ouvindo Estrelas", "Upside Down", and "Horizonte".

Fantastic sounds from Monday Michiru – quite possibly her greatest album in years, and one that really draws together all the best elements of her style! The vocals are wonderful – soaring, fluid, and filled with soul – almost more confident than ever – and set to these small group jazz arrangements that still bounce around with lots of contemporary rhythms – yet all played live, almost in a clubjazz mode – which makes for a perfect backdrop for Monday's lyrics! As always, the vibe is righteous, and the spirit is totally uplifting – the kind of amazing music that's held us rapt, watching her career for the past two decades – never disappointed, and always blown away by the rich progression in her music. Monday plays a bit of flute on the record, Ed Motta sings guest vocals on a version of the Milton Nascimento classic "Bridges" – and other titles include "Adventures", "What Is In A Soul", "Map Of The Soul", "What Defines You", "Brasilianos", "Til Morning Comes Again", and "The Elusive Song".

Overlooked later gems from Elis Regina – some of her late-life albums recorded for Warner Brothers! Essa Mulher is a killer – recorded in the company of arranger Cesar Mariano, whose masterful touch made for some of Elis' best albums of the 70s! Cesar arranged and conducted here, and although the production is perhaps a bit more contemporary than Elis' work for Philips, the vocals are sublime – much more driving and jazzy than a few years before, really working hard to dig deep and get the best sound out of each of the tunes! Saudade Do Brasil is a double-length set – very much in the spirit of Regina's classic work for Philips in the 70s! Like so many of those records, this one features arrangements and keyboards by Cesar Camargo Mariano – and the list of tracks is a stellar blend of work by some of Brazil's finest writers. Elis Por Ela features Regina taking on the music of Milton Nascimento, Antonio Carlos Jobim, and Joao Bosco – really showing her range of vocal strengths, set to backings that are a bit different than she would have received on such tunes a few years before when recording for Philips. Elis Vive is excellent live work – an extremely lively performance that brings out the best of her talents at the time – especially in the vocal department, as her singing comes through in a beautifully raw, vibrant way that differs greatly from her studio recordings of the time.

Jazzy MPB with a wonderfully warm finish – served up sweetly on this overlooked Brazilian nugget from the 70s! Fernando Ribeiro's got a style that's got some of the sophistication of Lo Borges or Milton Nascimento – particularly in the way his lyrics come across with lots of jazz-based inflections that are matched by chromatic tones on guitar – but there's an even more personal quality to some of the songs, which reminds us a bit of Joyce – even though Ribeiro's style is something completely different entirely! It's a bit hard to peg, or describe in words – but like some of Borges' best, there's a captivating feel to the record that really goes beyond the boundaries of language – a style that holds you rapt with words, even if you can't understand their meaning. Titles include "Hora Impropria", "Em Mar Aberto", "Ultimamente", "Aqui & Ali", "Imagina", "Delirio", and "Pedra Sobre Pedra".

Beautiful sounds from Sergio Ricardo – a Brazilian artist we barely know at all, but who really won us over with this incredible album from the early 70s! There's a complicated vibe to the record right from the start – rich arrangements by Theo Barros that lie somewhere in a space between the Forma Records work of Jose Mauro and some of Marcos Valle's most inventive styles of the time – inventive, yet never too lofty – and bringing in some rootsier elements as the set moves on – all a perfect accompaniment to Ricardo's great vocals! At points, the record has a mix of folksy and sophisticated that almost reminds us of Geraldo Vandre – but at other times, there's a spacious quality that's almost more in the territory of Edu Lobo or Milton Nascimento. Titles include "Asuencia De Voce", "Labirinto", "Arrebentacao", "Conversacao De Paz", "Canto Do Amor Armado", "Bezerro De Ouro", and "Mundo Velho Sem Porteira". CD features 7 bonus tracks too – including "200 Milhas", "Amazonas", "Berimbau", "Improviso Tema 200 Milhas", and "Voce Nao Sabe Quem Sou Eu".

A perfect illustration of the rich new directions Wayne Shorter was taking at the start of the 70s – an amazing flurry of sounds and styles that's light years ahead of where he began in the 60s! Shorter's one of those players who was already great at the start – an amazing tenorist, both on his own and with the groups of Art Blakey and Miles Davis – yet by the time of this record, he'd absorbed a huge amount of influences from Brazilian music, modal jazz, the spiritual underground, and even the free European scene – all of which come to play on the long, complex tunes on the set! The record has Shorter working with some other key contemporaries of this new moment in jazz – John McLaughlin on 12 string guitar, Chick Corea on marimba and percussion, Dave Holland and Miroslav Vitous on bass, and Ron Carter on cello – all players who have the same open, exploratory vibe as Wayne's own lines on tenor and soprano sax. Titles include an excellent cover of Milton Nascimento's "Vera Cruz", plus the tracks "Antiqua", "Iska", and "Montezuma".

A great reminder of the impact of the music of John Lennon on the sounds of Brazil – as the set features remakes of Lennon's tunes by a list of top-shelf heavyweights that includes Ze Ramalho, Gilberto Gil, Arnaldo Baptista, Zelia Duncan, Nando Reis, Milton Nascimento, and others! Most tunes are taken in a relatively straight way – a very respectful adherence to the sound of solo Lennon in the post-Beatles years, with just some occasional touches to personalize the music for each artist. Celso Fonseca directed the whole project – and titles include "Look At Me" by Zelia Duncan, "Bless You" by Toni Platao, "Beautiful Boy" by Lulu Santos, "Give Peace A Chance" by Arnaldo Baptista, "Imagine" by Gilberto Gil & Milton Nascimento, "Mind Games" by Nando Reis, and "Instant Karma" by Lobao.

Festive sounds galore – in what must have been one hell of a concert to attend in person! This May first show begins with music that's just sung by the audience before anyone even gets on the stage – then an all-star lineup perform before a crowd that's so entranced with their music, they're often chanting along with the lyrics themselves – adding energy to the whole thing that makes the record way more than the usual concert record from the time! Tracks include "Um Cafune Na Cabeca Malandro" by Milton Nascimento, "Historia De Pescadores" by Dorival Caymmi, "Ele Disse/Assum Preto" by Alceu Valenca, "Toada" by Boca Livre, "Vou Renovar" by Sergio Ricardo, and "La Vem O Brasil Descendo A Ladeira" by Moraes Moreira.

Great grooves from Sergio Mendes – a contemporary reworking of his older Brazilian rhythms, very much in the best spirit of his other recent records! There's a warm blend of jazzy instrumentation, Brazilian percussion, and well-crafted beats on the set – all to set the stage for great keyboards from Sergio, and vocals by a host of Brazilian and American talents who include Gracina Leporace, Seu Jorge, Milton Nascimento, Carlinhos Brown, and even Sergio himself! A number of cuts are clever reworks of older classics, taken to dancefloor territory – and titles include "Pais Tropical", "The Real Thing", "Maracatu", "Orpheus", "Ye Me Le", "Caminhos Cruzados", "Emorio", "You & I", and "Caxanga".

Pure magic from the young Egberto Gismonti – a sublime early record for Odeon in Brazil, and worlds different from his later fame on ECM! The album's got a great sense of depth – tunes that begin with Gismonti's personal vocals and guitar, but which quickly move into offbeat arrangements that are as inventive as they are ambitious! The vibe is very similar to his classic album from 1973 – Arvore – and is colored with the sort of soul and vibrant energy that you'd also hear in Milton Nascimento's best work of the time – and that of the whole Minas Gerais gernation. Gismonti plays a fair bit of piano – even some Fender Rhodes, which is great – and Lindolfo Gaya helped with arrangements, which gives the whole thing that sweeping, majestic feel of the best EMI/Odeon sides from this time in Brazil. Titles include "Janela De Ouro", "Vila Rica 1720", "Eterna", "Ano Zero", "Prum Samba", "Aqua & Vinho", "Mule Rendeira", and "Volante".

Great songs from George Harrison's All Things Must Pass album – all redone here by a host of different Brazilian artists! George had a huge influence on Brazilian music in the 60s and 70s, and the songs here are not only faithful tributes to Harrison's genius – but also act as templates to show just the way his influence lives on in the contemporary generation – both with some of the bigger names here who really sound great, and with some of the younger, newer artists who make the set especially exciting. Titles include "Wah Wah" by Tortu, "I'd Have You Anytime" by Milton Nascimento & Leo Fernandes, "My Sweet Lord" by Fafa De Belem, "If Not For You" by Luen, "Behind The Locked Door" by Sergio Reis, "Let It Down" by Maria Gadu, "Isn't It A Pity" by Ze Ramalho, "What Is Life" by Lia Sabugosa & Marcio Biaso, and "I Dig Love" by Tinta Preta.

The music of John Lennon, but handled by a host of different Brazilian artists – on this cool set of tracks pulled together from albums of the 60s, 70s, 80s, 90s – plus a few tracks from more recent years too! The set shows a really lasting influence of this Beatle's music on Brazil – from early takes that echo a more direct relationship to Lennon's recordings, to later MPB reworkings that have things really running deep, and coming out in rich new ways! Titles include "Come Together" by Wilson Das Neves, "Because" by MPB4 & Quarteto Em Cy, "Norwegian Wood" by Milton Nascimento, "Love" by Ivan Lins, "How Do You Sleep" by Kadu Mota, "Meu Bem" by Ronnie Von, "Demais" by Veronica Sabino, "My Life" by Leila Pinheiro, "Child Of Nature" by Daca, and "In My Life" by Rita Lee.

The sound of The Beatles, completely re-imagined by a host of hip acts from Brazil – a stunning lineup that includes some under-discovered talents from the younger generation, plus a few key artists from earlier years as well! As you'd guess from the "69" in the title, most of the tracks here are from the final years of the group – a fair bit of material from Abbey Road – opened up and given a whole new sort of energy here – showing the rich inspiration the fab four were still able to provide, even at the end! Beatles music has been a crucial influence on Brazil, from the 60s Jovem Guarda and Tropicalia scenes onward – and the work here really shows the range of influences, extrapolated through really creative instrumentation, vocal arrangements, and production techniques. The whole thing's hardly another "tribute to" session – and instead is more like an extended poem inspired by the work of John, Paul, George, and Ringo. Titles on this third volume include "Here Comes The Sun" by Joyce, "Something" by Flavio Venturini & Aggeu Marques, "Polythene Pam" by Autoramas, "The End" by Milton Nascimento, "Mean Mr Mustard" by Joao Donato with Paula Morelenbaum, "Because" by Aretha, "Golden Slumbers" by Elis Regina & Milton Nascimento, "She Came In Through The Bathroom Window" by Pouca Vogal, and "Her Majesty" by Silvia Machete.

Legendary work from a crucial component of Brazilian culture in the late 60s – the International Song Festivals of the time – a very important way of presenting both new talent and new compositions as well! The events were really unique, and often quite striking – from both a cultural and political perspective – as artists used the festivals as a key platform for taking steps forward in their words and music – sometimes steps that were even bolder than their studio work on record! Performances are unique to the records, and usually represent some key non-album tracks from the artists involved. This first volume brings together seven different albums from the years 1966 to 1968 – all originally issued on the Ritmos and Odeon labels – with work by artists who include Marcos Valle, Dori Caymmi, Beth Carvalho, Golden Boys, Taiguara, Vocalistas Modernos, Luiza, Clara Nunes, Elza Soares, Doris Monteiro, Maria Creuza, Morgana, Miltinho, Stelinha Egg, Reginaldo Bessa, Agostinho Dos Santos, Maria Jose, Quarteto 004, Milton Nascimento, Maricenne Costa, Zeze Gonzaga, Maysa, Quarteto Em Cy, Tuca, MPB4, Silvio Cesar, Paulinho Nogueira, Carlos Hamilton, Elis Regina, and many others! Albums include I Festival Internacional Da Cancao Popular Vols 1 & 2 (1966), II Festival Internacional Da Cancao Popular (1967), and four volumes of III Festival Internacional Da Cancao Popular (1968).

A beautiful tribute to the legendary Joao Bosco – a celebration of his forty years in Brazilian music – put together with help from a host of guests who include Joao Donato, Milton Nascimento, Toninho Horta, and Chico Buarque! The presence of these equal legends is a great reminder of the way that Bosco's music has influenced generations of MPB – perhaps not as famous on a global scale as these other artists, but always very well-respected by his peers – who often recorded many of Joao's compositions, and made them their own. The music's got all the acoustic charm of Bosco's best 70s recordings – and with some of his other recent sets, there's a sense of depth and growth that really shows his tremendous evolution as an artist over the years. Titles include "Agnus Sei", "Tanajura", "Fotografia", "Plataforma", "Jimbo No Jazz", "Drume Negrita", "Tarde", and "Caca A Raposa".