Oneiromante It has been said that "Clube da Esquina" is arguably the best Brazilian music album, which is quite a feat considering there are many great Brazilian records out there. Milton Nascimento and the not-quite-as-sucessful-but-just-as-brilliant Lô Borges (to whom the album is also credited) managed to fill most of two discs with great songs - some of which are true masterpieces. Not to mention that Milton's singing is, as usual, both gorgeous and passionate.

I must admit, however, that I am not entirely sure if "Clube da Esquina" belongs to Jazz (or any other genre, for that matter): "Trem de Doido" sounds like a Rock song,"Dos Cruces"* has a very Spanish feel to it to it and "O Trem Azul" somewhat resembles Jazz, but most of it doesn't sound like anything I've ever heard before. "Um Girassol da Cor de seu Cabelo" defies nearly every convention in harmony (and yet sounds wonderful), and I can't quite figure what is the rhytm on "Cravo e Canela". Milton performances on "Clube da Esquina Nº 2", "Os Povos", "Um Gosto de Sol" and "San Vicente" transmit such passion and emotion I feel as if my heart tightens inside my chest (and I'm not kidding nor exaggerating - I barely have the courage to admit it in front of you).

It is also worth noting some songs have been interpreted by Elis Regina ("Cais" and "Nada Será Como Antes"), Antonio Carlos "Tom" Jobim (namely "O Trem Azul") and Wayne Shorter ("Lilia"), which should be more than enough to encourage Jazz fans to listen to "Clube da Esquina".

As much as I'd like to describe and highlight every song, that would take much longer than what I consider acceptable. I am bound, however, to point out some flaws: "Saídas e Bandeiras", though good, are hardly remarkable in such an awesome album, whereas "Pelo Amor de Deus" and "Ao Que Vai Nascer" are just plain uninteresting. And sometimes I wish "Estrelas" lasted longer. Nothing compared to the sheer wonder of everything else on "Clube da Esquina". A masterpiece.

*I've actually found out "Dos Cruces" was actually written by the Spanish composer Carmelo Larrea. How did it reach the other side of the Atlantic and landed on Milton Nascimento's ears is beyond me, though.