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.

Of all albums by Paulo Bellinati, this is arguably the least jazzy. All songs here were written and performed by himself - which implies there is not even one of his superb interpretations of Antonio Carlos "Tom" Jobim, Baden Powell or João Gilberto. That might drive foreign listeners looking for a more familiar Brazilian sound - that is, Bossa Nova.

Which brings to my point: Brazil is not only about Bossa Nova. Each song of "Lira Brasileira" is a typical rhytm from the country, and might be thought as a picture of the sheer richness of Brazilian music.

Mr. Bellinati used to be, hands down, one of the best guitarists of Brazil, until his right hand was injured ( nowadays he can only play with a pick), a condition afforded by his extensive classical training. I am always impressed by his technique, which is displayed masterfully throughout the album, such as on "Chuva e Mar" ("Rain and Sea"): the arpeggios resemble the raindrops falling over the sea and the crashing of waves AT THE SAME TIME.

I must also praise his writting skills: most of the songs are wonderful, although I'm not so fond of "Alvoroço" and "Dama-da-Noite". He manages to mimic the typical instruments of maracatu on "Embaixador" - my personal favourite -, like an agogô (listen to the song here and google "agogô" - you'll see what I mean). I would also like to highlight "Cordão de Ouro" - a clear nod to Baden Powell's "Berimbau" -, "Chuva e Mar", which I mentioned above and is just gorgeous, and "Emboscada", a sample of the upbeat and even sort of funky xaxado.

As much as I'd like to write about all songs, I believe I've taken too long on this review and that my words wouldn't be enough to describe the songs very well. I hope my review, along with the samples here, convince you to buy and listen "Lira Brasileira".