― JasonD (JasonD), Tuesday, 29 April 2003 06:22 (fourteen years ago) Permalink
― Tuomas (Tuomas), Tuesday, 29 April 2003 07:07 (fourteen years ago) Permalink
― Etienne (Etienne), Tuesday, 29 April 2003 08:54 (fourteen years ago) Permalink
― Japanese Giraffe (Japanese Giraffe), Wednesday, 27 April 2005 11:46 (twelve years ago) Permalink
― steve-k, Wednesday, 27 April 2005 13:28 (twelve years ago) Permalink
― edd s hurt (ddduncan), Wednesday, 27 April 2005 16:11 (twelve years ago) Permalink
― [that bastard] jaxon (jaxon), Wednesday, 27 April 2005 16:18 (twelve years ago) Permalink
Not sure where else he's touring.
Jason, I have the Nelson Angelo and Joyce album, but the Verocai one has passed me by. Thanks for the tip.
― Japanese Giraffe (Japanese Giraffe), Thursday, 28 April 2005 11:55 (twelve years ago) Permalink
It seems like an obvious question, but have you considered the possibility that if you haven't really liked any other Milton you've heard that you're really more of a Lo Borges fan than a Milton fan? Borges doesn't have the world reknown or as deep a catalog as Nascimento, but he's a terrific artist in his own right. I personally prefer Lo Borges S/T '72 and A Via Lactea to any of Milton's other work. I suspect anyone that is a fan of Clube Da Esquina would dig the S/T '72 album.
― billy g, Thursday, 28 April 2005 14:33 (twelve years ago) Permalink
By BEN RATLIFF, New York Times
Published: August 8, 2007
There is a deliriously inventive strain of popular music from the Brazilian state of Minas Gerais, best known from Milton Nascimento’s hot streak of records in the first half of the 1970s. They are ambitiously cooperative, full-throated singing albums; they are also guitar-heavy and harmony-rich. Some prominently included a guitarist in his early 20s named Toninho Horta.
Mr. Horta went on to become a bandleader, crossing over into jazz more often than his Minas Gerais compatriots. But his solo set at Cachaça on Monday delivered many of the same chills as those records he contributed to long before. There was a striking originality and a purity of intent running through the music: it played itself out in quietly intense, trembly trances.
For American audiences, Mr. Horta is one of the geniuses who got away. (Perhaps especially for musicians: if you want to know why modern jazz players are bewitched by Brazilian music, he’s a good place to start.) He has spent stretches of time living in New York, though now he’s based in Brazil again.
In any case, he happened to be in town, and with only a week’s notice was booked to fill an empty night at this new club. Aside from one evening last year at Fat Cat, when he played an unannounced gig with the guitarist Kurt Rosenwinkel, this was, he said, his first New York show in nine years.
The room was hectic, packed with Brazilians, Italians, Japanese, Americans and videographers; Mr. Horta knew a lot of them, chatting between songs. (Later in the evening, after a break, he encouraged musician friends to sit in with him.)
But alone for his first set, he easily slipped into deep concentration, playing songs including his own compositions “Gershwin” and “Pilar,” Jobim’s “Amor em Paz” and — one of his signatures — an embroidered version of “Moon River.”
Bossa nova rhythm and harmony are implicit in much of Mr. Horta’s playing, but not bossa nova’s frugal guitar technique: he often strummed all six strings, leaving one or two unfretted, wresting complex harmonies and letting the low strings ring out. He was playing fluid, syncopated music that never sounded shallow or busy.
Like some of the best improvising musicians, he created a self-sustaining pool of sound in each piece, fantasias durable enough for him to hold back or dive in; he could slacken or hasten the tempo and volume without damaging a song’s atmosphere.
And above that, his singing was light and keening. He sang out of the corners of his mouth, moving his head from side to side, wincing at high notes. At one point many members of the crowd sang along to a chorus, but not just monophonically: without prompting, they sang in their own rich harmony.
― curmudgeon, Wednesday, 8 August 2007 10:08 (ten years ago) Permalink
Wasn't sure where to post this. Anybody know this guy's work?
― curmudgeon, Wednesday, 8 August 2007 10:09 (ten years ago) Permalink
I'm a big Milton fan, and I understand Toninho Horta's work has some great moments, but I'm afraid I'm not the authority. Thanks for raising this, though - I'll be interested as well in getting some pointers.
― Daniel Giraffe, Wednesday, 8 August 2007 11:02 (ten years ago) Permalink
For what it's worth, an amazon.com commenter stated "Some of the most notable songs recorded by Nascimento are Horta's compositions", although he did not like Horta's voice. Here's part of a cdbaby bio (maybe a bit over-the-top). I'm still not sure where to start in Horta's solo career.:
They were a group of childhood friends, all raised together in the land-locked, mountainous, mineral rich Brazilizan state of Minas Gerais. The first name that sprang to international attention - and stays there as the foremost current ambassador of Brazilian song - is Milton Nascimento. Joining him are songwriters Beto Guedes and Lo Borges, poets Ronaldo Bastos and Fernando Brant, and a slew of instrumentalists like Wagner Tiso and Robertinho Silva. And at the side of all of them is a musician who appears on more albums than most anyone in all Brazil, as arranger, as song- writer, as sparkling instrumentalist - Toninho Horta. Toninho Horta is, quite simply, a master whose harmonic sensibility, whose fantastically inventive chording, whose unfailing musicality have made him a session player and a arranger in constant demand for well over two decades. To hear him play live is to be stunned by the alternately lyrical and rythmic lines he is capable of, and at the ability of a musician to think so originally, so complexly on his feet. As a writer, Toninho's musicality has produced standards that top the list of the best-loved songs in Brazil. His story is somewhat typical of the artists of his generation. Like all Brazilians, he grew up with the music of his region everywhere about him: the folkloric traditions of former slaves, the religious music of a deeply religious land, a glorious tradition in samba, and as a youth at a time of worldwide flux, he grew with an ever widening exposure to foreign forms. He and his minas friends were first introduced to American jazz in the 1950's, cool jazz, like that played by Chet Baker (whose phrasing as a singer and instrumentalist made a tremendous impression) and Miles davis, or by richly harmonic masters like Duke Elington. Then came the rock and roll of a later generation - especially a group cited by nearly every Brazilian of the time, The Beatles, with their allembracing concept album and adventouresome musical vision. This varied exposure filtered through some of the most singular musical sensibilities in Brazil, and the the loosely knit clutch of musicians came to be known as the Corner Club, or in Portuguese, the Clube da Esquinha. Toninho Horta was born into a musical family in the capital of Minas Gerais, Belo Horizonte, in 1948. His mother taught him guitar and his uncle a composer and multi-instrumentalist, provided guidance. His successes came early, with a first composition, written when he was only thirteen, beung picked up by local bands, and a later one, "Litoral", becoming an instant standard for its twenty-year-old composer. Given his early recognition as a guitarist to watch, Toninho appeared in the bands of many of Brazil's greatest singers. he even fronted Milton Nascimento's first appearance in Rio, in 1970. since that time he has played with and arranged for Maria Bethania, Elis Regina, Gal Costa and many others.
― curmudgeon, Wednesday, 8 August 2007 12:50 (ten years ago) Permalink
So should I see him live? He's touring the USA and I've missed him every other time he's come through town.
― curmudgeon, Tuesday, 23 September 2008 03:30 (nine years ago) Permalink
um, FUCK YEAH
― tony orlando and dawng (PappaWheelie V), Tuesday, 23 September 2008 04:08 (nine years ago) Permalink
Minas won't stay off the deck at the minute - beautiful, strange record..
― sonofstan, Tuesday, 23 September 2008 05:24 (nine years ago) Permalink
40 years later!
― scott seward, Tuesday, 20 March 2012 00:09 (six years ago) Permalink
that is such a great lp
― The term “hipster racism” from Carmen Van Kerckhove at Racialicious (nakhchivan), Tuesday, 20 March 2012 00:11 (six years ago) Permalink
aw, what a great photo.
― tylerw, Tuesday, 20 March 2012 01:34 (six years ago) Permalink
took me 10 seconds to "get" the photo, lol. that's fantastic!
― willem, Tuesday, 20 March 2012 07:27 (six years ago) Permalink
Imagine owning and playing that LP when it came out! His music has such a strong sense of time and place.
― โตเกียวเหมียวเหมียว aka Colored on TV! (Mount Cleaners), Tuesday, 20 March 2012 09:45 (six years ago) Permalink
Oh wow, that photo!
― Daniel Giraffe, Tuesday, 20 March 2012 10:41 (six years ago) Permalink
― the sir edmund hillary of sitting through pauly shore films (Shakey Mo Collier), Tuesday, 20 March 2012 17:31 (six years ago) Permalink
that's great! what an awesome photo the original is too.
― rob, Tuesday, 20 March 2012 19:53 (six years ago) Permalink
v gd, tick!
― xyzzzz__, Wednesday, 21 March 2012 20:00 (five years ago) Permalink
Yes!! I also listened to that album on Spotify last night. Nice
― curmudgeon, Thursday, 22 March 2012 14:00 (five years ago) Permalink
Out of boredom and procrastination I decided to go through the RYM all time albums list and find the highest ranked one that I was just not familiar with at all. Which was actually a Kyuss record, which seemed pretty cool but sounded exactly like every stoner rock record.
BUT, the second one was Clube Da Esquina, and wow, this is such a where-have-you-been-all-my-life album.
― space phwoar (Hurting 2), Monday, 4 February 2013 03:44 (five years ago) Permalink
Assuming the photo here is that went missing a little bit upthread http://brasillinois.wordpress.com/2012/03/19/boys-from-clube-da-esquina-cover-located-after-40-years/
― Leopard Skin POLL-Box Hat (James Redd and the Blecchs), Monday, 4 February 2013 04:09 (five years ago) Permalink
that is great
I think the extent of my familiarity with him prior to now was from Native Dancer. I also just finally heard the original Ponta De Areia, which is amazing
― space phwoar (Hurting 2), Monday, 4 February 2013 04:23 (five years ago) Permalink
In any case, he happened to be in town, and with only a week’s notice was booked to fill an empty night at this new club.
― Leopard Skin POLL-Box Hat (James Redd and the Blecchs), Monday, 4 February 2013 04:32 (five years ago) Permalink
First two tracks on this are extremely my shit right now.
― Fedora Dostoyevsky (man alive), Sunday, 11 March 2018 14:27 (one week ago) Permalink
Some incredible vocal phrasing on "my fairytale friend".. hot Shorter playing tooStick around for "Cloves and cinnamon", that is one pretty track.
― brimstead, Sunday, 11 March 2018 20:59 (one week ago) Permalink