(Bossa Nova/Latin Jazz) Milton Nascimento - Nascimento - 1997, FLAC (image+.cue), lossless

(Bossa Nova/Latin Jazz) Milton Nascimento - Nascimento - 1997, FLAC (image+.cue), lossless
Milton Nascimento - Nascimento
Жанр: Bossa Nova/Latin Jazz
Год выпуска диска: 1997
Производитель диска: Warner Bros. Records Inc. (Warner Music Brasil Ltda.) - 936246492-2 - Brazil
Аудио кодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 49:24
1. Louva-A-Deus
2. O Cavaleiro
3. Guardanapos De Papel
4. Cuerpo y Alma
5. O Rouxinol
6. Janela Para O Mundo
7. E Agora, Rapaz?
8. Levantados Do Chão
9. Ana Maria
10. Ol' Man River
11. Os Tambores De Minas
12. Biromes y Servilletas
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 CD represents his best work of the '90s and even a good part of the '80s, a genuine renaissance for the Brazilian icon. ~ Richard S. Ginell, All Music Guide
Milton Nascimento's highly anticipated album Nascimento finally reached the world market on June 10, 1997. Initially scheduled for an earlier street date, Nascimento was delayed because of a documentary that Warner Bros. wanted to release about Milton Nascimento. Furthermore, Milton's health problems prevented him from touring to promote this album.
The Brazilian critics were divided when writing about Nascimento. Being this year the 25th anniversary of Milton's landmark release Clube da Esquina, it is understandable that expectations were high. Nascimento is a mixed release with ups and downs.
There seems to be a little bit of everything Milton has done in his career in Nascimento. The search for his home land is present with the heavy drum percussion in "Louva-a-Deus," "Janela para o Mundo" and "Os Tambores de Minas." The repique and folia boxes are almost exclusively the only instruments used in these songs. In "Janela para o Mundo," Milton claims that "estrangeiro eu não vou ser" (I will not be a foreigner), and he unites all of Latin America with Eduardo Mateo's "Cuerpo y Alma" and Leo Masliah's "Biromes y Servilletas," which also has a Portuguese version in this album. However, as with the strong jazz-influenced 1989 album Miltons, here we have "E Agora, Rapaz?" and "Ana Maria," Wayne Shorter's composition to his late wife. The song was first recorded in Wayne Shorter's album Native Dancer, which featured Milton Nascimento, but Milton's vocals were not used in the final cut. This is a nice updated recording. Túlio Mourão's keyboard work in these two songs is very reminiscent of Herbie Hancock's work in Miltons.
Milton's voice at some points sounds weak. His falsetto is still extraordinary, but some phrases seem to have been cut short as in the a cappella introduction to "E Agora, Rapaz?" and also in "O Cavaleiro." The best moments of this album are found in simple songs such as "O Rouxinol," which deals with music and life, a theme Milton uses very well in his compositions, e.g., "Canções e Momentos." Also, the two tributes Milton pays -- "Ana Maria" (to Wayne Shorter's wife) and "Ol' Man River" (to River Phoenix) -- are excellent examples of Milton's artistry even when he sings without words.
~Egídio Leitão
Milton Nascimento's music could not have been created by anyone but a passionately partisan Brazilian national, yet he consistently transcends his dearly held cultural identity. He is an anomaly, an original whose recordings have struck private chords in diverse millions worldwide. His latest recording, Nascimento, is pared down, percussive, airy and supports his voice on its stratospheric travels. It's a quantum leap beyond the overblown miasma of LA-bred "soft jazz" and star-struck pop visitations of his past few albums. For many of his admirers, the only real hint that Milton was still on his game was his brief appearance on Rhythm Of The Saints, where his melancholic timbre danced like an incantation and nearly blew Paul Simon off his own record. On this 1997 release, he has checked back in where he lives and it's about time.
Milton was born under Scorpio in Rio de Janeiro in 1942, but grew up with adoptive parents in a town called Tres Pontes in the landlocked province of Minas Geraes, which translates to "General Mines". The area is a stronghold of Catholicism in Brazil, and the church-like harmonies that inform so much of Milton's music began here. He gathered a set of boyhood friends around and eventually moved to the capitol city of Belo Horizonte to begin his professional life as a musician. After years of club dates, festivals and other experiences, his songs came to the attention of one of Brazil's greatest singers, Elis Regina. At her invitation, Milton showed up with his guitar and played all of his songs for her, all the while nervously wondering whether or not he was boring her. When he ran out of material, she simply asked, "Is that all there is?", and thus began a magical partnership. When a song gets airplay in Brazil, the composer and lyricist are always named along with the interpreter, so from then on his future was assured.
His first recording was called Travessia (Bridges) and while the title tune was to be something of a signature song for him, it was his work for EMI that brought him to the attention of audiences outside of Brazil. The two volumes of Clube De Esquinha (Corner Club) recall how he and his youthful collaborators hung out on the streets at night, honing their skills and sometimes irritating the neighbors. "Minas" and "Geraes" delve into his hometown soul via jazz flavored and folkloric stylings, respectively. "Milagre dos Peixes (Miracle Of The Fishes)" is sung but has no lyrics due to his scorn for the repressive government policies at the time.
It was at this juncture that the American jazz icon Wayne Shorter approached Milton. The recordings they made together brought him indelibly into the American marketplace and consciousness. These sets had many special moments, but it was obvious that Milton was more comfortable phrasing in the sideways swim of his native Portuguese than in up-and-down English. The not-to-be-missed EMI series, however, have all been remastered at Abbey Road Studios in England and are now available as imports.
Milton's astonishingly vital output for Ariola Brasil (mostly still in print through Polygram) during the eighties was when his vision finally received its technical due on such albums as Sentinela and Anima. He retained the services of cohorts from his journeyman EMI recordings but also introduced the silky guitar of Riccardo Silveira and the whiz-bang, acoustic wizardry of Grupo Uakti. The top-notch production values refracted his colors and flung them from earth to sky like an Aurora out of the south, garnering ecstatic press and legions of new fans.
Nascimento is stylistically related to the esthetic of the Ariola period but employs a humbler palette. Although it does not quite reach those remembered heights, it is nonetheless a work of rare potency and blazing percussive fire. It was produced by Russ Titelman, who is best known for his mega selling albums of "adult rock" and who was behind Milton's duet with James Taylor on "Angelus". Much of Nascimento was crafted on the hoof in the studio, with just the percussion parts pinned down and Milton spontaneously overdubbing himself into a choir of elementals with a couple of other voices chiming in from time to time. Members of the Brazilian posse are on hand to perform material written by Milton and such longtime friends as lyricists Fernando Brant and Marcio Borges and the Carioca poet-composer Chico Buarque. There are elegies here - Milton has lost a trio of valued friends in one year, starting with the death of his manager /producer Marcio Ferreira. A wordless chant of "Ol' Man River" recalls the young actor River Phoenix, dead of an overdose like Milton's muse and soulmate Elis Regina; while a vocalise on "Ana Maria" mourns the passing of Wayne Shorter's wife on TWA flight 800.
The spectacular percussive tracks draw essences from race memory - the rattling breaths of slaves whose bleeding fingers wrested the ore from the caves of Minas Geraes. "Guardanapos de Papel (Paper Napkins)" is a florid ballad in the "Travessia" mode by the Uruguayan composer Leo Masliah sung in Portuguese and Spanish versions and it's equally overheated in either, but manages to be lovely anyway. Ultimately, there's always the voice and these days the instrument has a faint whisper of passing time which in no way detracts from its ability to move the heart. This most private of artists does not so much share his inner lives as use them to launch parallel observations in the listener.
~Christina Roden
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 9. October 2009, 13:46
Milton Nascimento / Nascimento
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