Milton Nascimento & Lo Borges “Clube da Esquina” 1972 Brazil Latin,Rock Pop,Folk,MPB

Milton Nascimento & Lo Borges  “Clube da Esquina” 1972 Brazil Latin,Rock Pop,Folk,MPB one of the best Brazilian albums…recommended..!

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 Originally released in 1972, ‘Clube Da Esquina’ is the musical collective Milton helped found in his home state of Minas Gerais with Lo Borges, Wagner Tiso, Beto Guedes, Nelson Angelo and Toninho Horta. This album is almost certainly the finest example of the highly creative scene that arose from such an array of talent. From the opening chords of Brazilian Jazz dance anthem “Tudo Que Voce Podia Ser” to the baroque influences of “San Vicente”, via such Milton standards as “Cravo E Canela” and “Nada Sera Como Antes”, this double-album seamlessly weaves folk, rock, pop, MPB, jazz and even Beatlesque string influences into something distinct and utterly beautiful….~

In 1972, the Borges family lived in the bohemian neighborhood of Santa Tereza, in Belo Horizonte. There was born a song, a record and a movement. “Clube da Esquina”, the album and the song were released in 1972, when Lô was only 18 years old. Many might find it very much a responsibility to split an album with Milton Nascimento, as well as a lot of daring to record “A Sunflower of the Color of Your Hair” singing at the piano, with an orchestra ruled by Eumir Deodato, in only two channels. As if that were not enough, the disc still has “The Blue Train”, “Pier”, “Landscape of the Window”, “Nothing Is Like Before” and “Clube da Esquina nº 2”. The movement to which the disc gave the name was born from there. At the time it was released, “Clube da Esquina” received positive reviews, but the overwhelming majority could not recognize the genius there. Today, 32 years later, the album is revered as one of ten, if not one of the five most important albums of MPB…~

Clube Da Esquina is named after the Brazilian music artists collective that both Nascimento and Borges were a part of. Together with Tropicalia, Clube Da Esquina was the Brazilian musical movement that achieved the greatest international resonance in the post-bossa nova period. The collective collective originated in the Brazilian state of Minas Gerais and the album is filled with contributions from mineiros. The Clube Da Esquina style mixes rock and roll, progressive rock, bossa nova and jazz styles, with Brazilian country music and classical music influences. The album features many Clube Da Esquina hits, including: “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 many others. Twenty-one tracks in all. Released by 4 Men With Beards on 180 gram double vinyl with a gatefold sleeve….~

i’m a disaffected trilingual 22-year-old with a permanent five o clock shadow and an exquisitely well-developed smoking habit who gets all but physically sick at the idea of doing what one must in order to do anything other than wait tables for a living but that’s okay because i know the complete works of rimbaud and neruda almost by heart and i look great when i sneer. and have i mentioned my heart of gold?…by…telephone junkie …..~

If anything shows the true diversity of Brazilian music its Milton Nascimento and Lo Borges’ “Clube da Esquina”, released in 1972. Another bonafide classic this album highlights the growth of influential music that Brazil could produce outside of its normal region of invention, Rio de Janeiro and Sao Paolo. Hailing from the Minas Gerais region, a much less tropical and more arid region, both Milton and Lo were raised in a locale where jobs were extremely few and far between, just getting by day to day required actual work many in the rest of Brazil wouldn’t dream of doing. For those two kids, and a couple of their musical friends, music was their release and opportunity. 
Both of them were uniquely gifted in that they learned by ear, how to play from a young age the complex chord progressions and rhythms that made them gain their early connections that brought them out of their boroughs. In a way, even they saw it themselves, their lives mimicked and were informed by the lives of John Lennon and Paul McCartney. They truly had distinct styles Milton’s was more abstract and free flowing, his early records were works of samba characterized by his unique vocal work that would cycle in range throughout a whole song. Lo was the McCartney of the group, his own work had very airy pop melodies and tender harmonies that could be best described as dreamy. At one point they struck on the idea to combine their forces and see if they could match or top their own influences.
It was obvious to them that it would be their own background, found distinctly in the western region of Brazil, that could let them add a progressive pop feel that most any listener hadn’t quite encountered before. This is the sound you hear throughout this record, rather than copy the Beatles, they took the collective feeling and sound that touched them as kids and reconfigured it for their time. The album has vignette updates of songs like “Sun King”, “Julia”, or even “Arnold Layne” from the Floyd. As a listener its obvious where some of the inspiration comes from but the way they tweak the existing formula is just damn brilliant. By injecting their own regional musical influence into the music of their idols, they found a way to attain that success. I mean this in album that even spawned a museum in Brazil just dedicated to the history behind its creation. 
To this day, songs like “O Trem Azul”, “Clube da Esquina 2”, “Saidas e Bandeiras”, or “San Vicente” just startle because of how modern they sound. Its a testament to their whole collective finding a way to make a new kind of statement. For a lot of the members of the collective this would be the totem they could use to strike out new monuments…more of that soon. Just so you know, the album cover isn’t of them as kids, they were just two kids they saw and took pictures while driving around their neighborhood (the cover served as a way to remind themselves of where they came from)…..~

Tracklist 

Tudo que você podia ser (Márcio Borges, Lô Borges) 
Cais (Milton Nascimento, Ronaldo Bastos) 
O trem azul (Lô Borges, Ronaldo Bastos) 
Saídas e Bandeiras nº 1 (Milton Nascimento, Fernando Brant) 
Nuvem cigana (Lô Borges, Ronaldo Bastos) 
Cravo e canela (Milton Nascimento, Ronaldo Bastos) 
Dos cruces (Carmelo Larrea) 
Um girassol da cor de seu cabelo (Márcio Borges, Lô Borges) 
San Vicente (Milton Nascimento, Fernando Brant) 
Estrelas (Márcio Borges, Lô Borges) 
Clube da Esquina nº 2 (Lô Borges, Milton Nascimento) 
Paisagem na janela (Lô Borges, Fernando Brant) 
Me deixa em paz (Ayrton Amorim, Monsueto) 
Os povos (Márcio Borges, Milton Nascimento) 
Saídas e Bandeiras nº 2 (Milton Nascimento, Fernando Brant) 
Um gôsto de Sol (Milton Nascimento, Ronaldo Bastos) 
Pelo amor de Deus (Milton Nascimento, Fernando Brant) 
Lilia (Milton Nascimento, Fernando Brant) 
Trem de doido (Márcio Borges, Lô Borges) 
Nada será como antes (Milton Nascimento, Ronaldo Bastos) 
Ao que vai nascer (Milton Nascimento, Fernando Brant) 

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Marco Antônio Araújo “Influências” 1981 Brazil Prog Folk,Symphonic

Marco Antônio Araújo “Influências” 1981 Brazil Prog Folk,Symphonic

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For my 100th review on PA, I´d like to introduce one of Brazil´s best instrumental prog ventures of all times. Marco Antônio Araújo and his band are from my hometown and they played a very unique mixture of progressive, folk, rock and classical music. Araujo, a big Beatles fan, lived in London for a time during the 70´s and when he came back he brought with him all the inlfuences that made him one of the most original and celebrated songwriters of his time. His music is quite rooted in the traditional musical forms of Minas Geraes, a state that was famous for its baroque churchs (therefore the proeminent use of the flute on most of the songs, and also the french horn sometimes). 
when the record came out it was hailed as a masterpiece, and it deserved it! It´s difficult to describe the music, since it is quite original, although influences are easy to tag and goes from Jetrho Tull to Beatles, classical music, Brazilian folk and so on. Yet the results are a smooth, well crafted collection of songs. You have to hear it to believe. 

He recorded 4 albums of original music and was on his way to become an international successs, when it all came to an end by his tragic death in 1986, of a brain aneuurism. But he left his mark and Influências was his first album, and one of the most celebrated ones, since it was recorded and well received at a time when instrumental prog music was not really in fashion (to say the least!). His band mates are very skilled, most of them did solo works and became much sough after studio musicians in years to come. His brother Alexandre Araújo does some great guitar solos and Eduardo Delgado proves to be one of the best flute players around. 

If you like something different, instrumental progressive music, with strong folk and classical influences, this is a must have. Highly recommended!…by Tarcisio Moura ….~

Well, my dear friends, this is my first review for progarchives; although there is a long time I appreciate opinions made available here. What a large amount of bands I´ve been listening due to this site recomendations ! 
As being a brasilian, this first review is for the álbun and the musician whose in my honest opinion I consider the best product in our progressive music. Although Bacamarte´s “Depois Do Fim” is a must, “Influências” by Marco Antonio Araújo is even of higher quality; and not only for just one reason. 
First of all, MAA has the cultural profile of those fantastic progressive musicians. He has a strong classical trainment, which appears clearly in his work (albun like “Entre Um Silêncio E Outro” - Between One Silence And The Other). Also he was a intense “flower power generation” guy, fascinated by “The Beatles and The Rolling Stones”; and these two lines forms the essence of the ideas that led to progressive movement. Second, MAA kept in his music strong elements of brasilian folk music (a very interesting kind of music); bulking this in a melting pot with classical and “roquenrou” (rock´n´roll); having as a result something strongly different from anything anyone has done prior to him. And third of all, he is a master composer, creating incredible melody lines; as for example the main theme (played by flute), of “Abertura n 2” one of the best melodic line that I ever heard in my life !! 
So, I leave here a strong recomendation of a careful listening in order to really judge if “Influências” as the best effort of brasilian progressive music; by our best progressive musician. And after all, these commented qualities performs a strong reason for achieving here five stars…Antonio Giacomin…..~

Marco Antonio Araujo was the most respected musician in Brazil’s instrumental music scene in the 80’s, compared only to Marcus Vianna from Sagrado. Although his work hasnt gained enough recognition among the prog fans worldwide, he is, in my opinion, one of the best folkish accoustic guitar players of all times. He was able to incorporate ethnic elements from the Minas Gerais state region with the finest progressive / folk rock influences of Jethro Tull and Pink Floyd like no one else. His characteristics as a guitarrist are quite unique. Influencias release really broke ground in the industry at the time, bringing a re-birth to the prog scene in the country in the early 80’s. Many brazilian bands followed his path since the release of Influencias. The music is extremely beautiful shifting from accoustic guitar / flute / piano mellow passages, to long full improvisating passages. Marco Antonio always gave total freedom to his fellow musicians, and the result is incredible. He was able to put out several solid good albums before his premature death, caused by drug abuse. His presence in the Brazilian scene is missed a lot….~

Multi-instrumentalist Marco Antonio Araujo (1949-1986) recorded only a handful albums before his untimely death in 1986, but in his brief career he established himself as one of Brazil’s preeminent prog-rock musicians, shaping lyrical, grandiose sonic epics, often with a folkie musical tint. Before emerging as a solo artist, Araujo was a veteran of the 1970s musical and theatrical scenes – he had gone abroad to England and fell under the spell of British rock music, which became an integral part of his own compositions and improvisations. Here’s a quick look at his work… 
Flowery but for-real folky prog from Brazil, with expansive electric guitars, shimmering keyboards and a lot of tootly flute. It’s like Mike Oldfield, Stevie Vai, George Harrison and Edu Lobo prancing through a field of flowers together, with that guy from Jethro Tull playing Pied Piper under the shade of an apple tree… Yeah, it’s pretty goofy, but I think for prog fans, this is definitely an artist to have on your radar. Araujo builds on huge, epic jam sessions, particularly the two ten-minute long pieces that bookend this album, “Panoramica” and “Folk Song”, but all the songs are over five minutes and share a similarly grandiose vibe. This is considered by many to be a touchstone of Brazilian prog… and it certainly is a solid album for the genre…..~

“Influences” is the first of the four albums released by the composer, guitarist and cellist from Minas Gerais, one of the greatest Brazilian musicians of all time, Marco Antônio Araújo. 

With the excellent band Mantra, Marco Antônio Araújo made a refined sound, blending folk, erudite music, music from Minas Gerais and rock. Influences of Jethro Tull (or just the similar sonority generated by the guitar with the flute) can be noticed, but the music of MAA is strong personality, marked by sensitivity, intelligence, and a progressive awareness “from the inside out” - MAA not “trying to be progressive,” repeating clichés and falling into what many end up falling. 

The sound in Influences is dominated by guitars and flute, always counting on the great guitarist Alexandre Araújo (brother of MAA), and some metals and piano of invited musicians. The balance between heavier and softer movements is noticeable, as you can already notice by the opening strip, “Panoramic”, a 10-minute epic. Other highlights of the album are the title track, energetic “Opening No. 2”, “Folk Song”, beautiful music that starts with voices and MAA on guitar, then metal, flute … Well, just listening. 
There are still 2 bonus tracks, the latter (Floydiana II) actually a version of the first track from their second album…….~

Line-up / Musicians 
- Marco António Araújo / acoustic & slide (2) guitars, percussion, arranger 

With “Grupo Mantra” band: 
- Alexandre Araújo / guitars, percussion 
- Eduardo Delgado / flute, percussion 
- António Viola / cello 
- Ivan Correa / bass 
- Mário Castelo / drums, percussion 

And: 
- Oiliam Lanna / wind arrangements (1) 
- Philip Doyle / flugelhorn (1,2,6) 
- Amilton Pereira / trumpet (1) 
- Maurício Silva / trumpet (1) 
- Edson Maciel / trombone (1) 
- Edmundo Maciel / trombone (1) 
- Maurício Maestro / voice & handclaps (2)

Songs / Tracks Listing 
1. Influências (6:21) 
2. Folk Song (10:36) 
3. Bailado (4:59) 
4. Panorâmica (10:00) 
5. Cantares (5:14) 
6. Abertura N° 2 (8:22) 

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Alceu Valença & Geraldo Azevedo “Alceu Valença & Geraldo Azevedo"1972 Brazil Psych Folk Pop,Rock MPB

Alceu Valença & Geraldo Azevedo “Alceu Valença & Geraldo Azevedo"1972 Brazil Psych Folk Pop,Rock MPB ...recommended...

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 Recorded in the hours left over in the dawn of Copacabana’s studios in 1972, the album "Quadrafônico” became one of the most important Brazilian records for revealing at the same time two figures of prow of MPB, such as: Alceu Valença and Geraldo Azevedo. 
Despite being known as Quadraphonic, the disc is originally called Alceu Valença & Geraldo Azevedo. The large, luminous Quadraphonic at the top of the cover concerned the sound technology that was new at the time and with which the record was made…..~

Alceu Valença, Geraldo Azevedo and the psychedelia of the Quadrafônico disc 
Of how Rogério Duprat went to the debut album of the Pernambuco duo that revealed great composers of Brazilian music 
I was in doubt if I started telling this story for the part in which the arrangements of the album “Alceu Valença & Geraldo Azevedo” (1972) would initially be made by Hermeto Pascoal but ended up in the hands of Rogério Duprat, one of the creators of Tropicalismo. Or that the recordings used the Quadraphonic system, a novelty at the time. Or that the production budget was so small that Alceu and Geraldo were sent by the record company Copacabana to São Paulo to record and stayed in the apartment of Cesare Bienvenuti, producer of the album. Or that the few hours of recording destined for the LP happened at dawn, when the studio was unoccupied. 

They would be interesting forms if we think of the curiosities behind a production, but they would not give the real dimension of this classic still unknown today of the great public that was the inspired debut of the pair in the disc “Alceu Valença & Geraldo Azevedo”.
It is contained in this little jewel that has only 34:02 minutes in duration the genesis of the fruitful work as great composers that Alceu and Geraldo individually developed already in that beginning of years 70. If this little, consider that it is not only a presentation of two unknown to the phonographic market but the convergence of these together with Rogério Duprat that resulted in a classic record of our music. 

A classic can be defined as a work that crosses the time with its characteristics and artistic qualities intact and it is in this question that the “Alceu Valença & Geraldo Azevedo” is inserted.
Quick tour: In the early 70’s, the British band Pink Floyd was excited about a new system called Quadrifónico or Stereo 4.0, corresponding to the current Surround, and recorded three discs in this format. The Quadrifonic used four channels of capture (the standard then used was two) arranged in different points of the studio capturing diverse shades of the sound. The reproduction of these LPs, however, required compatible sound equipment, that is: with four boxes of speakers distributed in the environment which gave the listener the feeling of being in the studio together with the band. The format was not avenged given the lack of definition of the market for the standard to be used commercially and the high value of the devices for reproduction. 
It derives from the confusion with the album title that, contrary to what is said, is not called ‘Quadraphonic’ because this denomination only identifies the technology used in opposition to the Stereo standard.
Some discs were designed to be heard from beginning to end in the order in which they were recorded, such as Pink Floyd’s “The Dark Side Of The Moon” (1973) - one of three in which the band used quadriphone technology in recording - and this is essential if the work is to be understood in all its complexity since the division between the tracks does not conform to the standard logic of a common disc of 'loose bands’. (It even seems that there is a law of the Martial Court that condemns the subversives of this order to be flogged in public square is the sacrilege committed) 

This is the case of “Alceu Valença & Geraldo Azevedo”, which was thought to be heard from beginning to end and so you can 'touch’ the textures, effects and colors that cross the border of music and tune it to the visual arts. 

The regionalism of the pair is there but it is not the determinant. It has ciranda, coconut, viola caipira, rock but it is the psicodelia that gives the league. The conversation between musicians and technicians during the recording sessions in the studio are also present on the disc, another novelty to increase in the listener the illusion of immersion in sound.
I highlight here as one of the highlights of this work the beauty in the interpretation of “Talisman”. It’s fine F.C.The importance of this quintessential album is such that the worshiped and very rare “Paêbirú”, psychedelic disc of Zé Ramalho and Lula Côrtes and which became the most expensive Brazilian vinyl costing R $ 4,000, would only be released in 1975 and in it Alceu also contributed. 
Also note that when it was released “Alceu Valença & Geraldo Azevedo” the heyday of psychedelic rock in the world had been lost in the ether of the 60’s and perhaps, therefore, I suppose, the album did not have the due importance. 
Forget the classics of Alceu and Geraldo that came to your head as you read this article. The songs produced are a third thing beyond the individual work of these two giants
It is with “Horrible”, the last track from the brilliant album “Alceu Valença & Geraldo Azevedo”, that Disco Risk invites you to do another trip through the universe of Brazilian music….medium….~

An overlooked piece of the tropicalia puzzle, Quadrafônico (as it's also known) falls somewhere between Os Novos Baianos and Os Mutantes. It's not as corny or twee as the former's stack of albums, but more cohesive and less ADD than anything by the much-loved latter. 

Lots of beautifully catchy pop tunes with hippie lyric concerns of the era, and lots of drop-out-and-form-a-collective sentiment. And social sarcasm to spare. 

Odd that this gets none of the fanfare that Mutantes get, maybe due to the fact it's their only joint recording (both went on to become well known solo recording artists), and there's no catchy band name to latch onto. But anyone into the warm pastels and flaming yellows of that time and place is bound to dig this much more than its lack of reputation would deceive you into expecting....by...leland ....~ 

Tracklist 
A1 Me Dá Um Beijo
A2 Virgem Virgínia
A3 Mister Mistério
A4 Novena
A5 Cordão Do Rio Preto
A6 Planetário
B1 Seis Horas
B2 Erosão
B3 78 Rotações
B4 Talismã
B5 Ciranda De Mãe Nina
B6 Horrível 

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