CLUBE DA ESQUINA Milton Nascimiento & Lo Borges (1971) download LP

CLUBE DA ESQUINA, Milton & Lo. (EMI 1971) download full LP

Lô Borges, Duca, Márcio Borges e Milton Nascimento – 1969

Clube Da Esquina crew

Lo Borges & Milton Nascimiento, Studio 1972

Clube da Esquina (in English “Corner’s Club”) was a Brazilian music artists collective, originating in the Brazilian state of Minas Gerais.  It is also the name of a double album from 1972. The album (at least in its American release) is sold under the names of Milton Nascimento and Lô Borges.
Clube da Esquina mixes progressive rock, bossa nova and jazz styles, with Brazilian country music and classical music influences. The Beatles and The Platters were also an important influence on “Clube da Esquina”.

Together with Tropicália, Clube da Esquina is usually regarded as the Brazilian musical movement that achieved the greatest international resonance in the post-bossa nova period (beginning in the late 1960s and early 1970s).

In 1963 Milton Nascimento moved from Três Pontas, in the midlands of the state of Minas Gerais, to the capital Belo Horizonte, looking for work. He settled at the Levy building, where the Borges Family, including Márcio Borges, already lived. One day, after watching François Truffaut’s movie Jules et Jim three times in a row, Milton and Márcio started composing (Milton already played in some bars of Belo Horizonte): Márcio wrote the lyrics, and Milton wrote the music. Since then, Márcio always played a great role in the history of Clube de Esquina as lyricist, mainly together with, at a later stage, Fernando Brant. The first album (Clube da Esquina), from 1972, was followed by another one in 1978 (Clube da Esquina 2), that contains tracks written by authors that were not part of the group (Chico Buarque).

Clube Da Esquina is:
Milton Nascimento
14 Bis (band)
Toninho Horta
Tavinho Moura
Lô Borges
Beto Guedes
Wagner Tiso
Fernando Brant (lyricist)
Nelson Ângelo
Márcio Borges (lyricist)
Flávio Venturini

 

Lô Borges 1972, bio and LP (download)

LO BORGES LP “self title” < (download link)

1. Você Fica Melhor Assim
2. Cancao Postal
3. O Cacador
4. Homem Da Rua
5. Não Foi Nada
6. Pensa Você
7. Fio Da Navalha
8. Prá Onde Vai Você
9. Calibre
10. Faca Seu Jogo
11. Não Se Apague Esta Noite
12. Aos Barões
13. Como O Machado
14. Eu Sou Como Você É
15. Tôda Essa Água.

 

Lô Borges (Born Salomão Borges Filho on January 10, 1952) is a Brazilian songwriter, singer and guitarist.  He was one of the founders of Clube da Esquina, a music collective originating in the Brazilian state of Minas Gerais. He co-authored with Milton Nascimento the album Clube da Esquina in 1972, which was a milestone in Brazilian popular music. Among his most famous compositions are Paisagem da Janela, Para Lennon e McCartney, Clube da Esquina No. 2 and O Trem Azul.

Review:

Reminiscent of the Clube da Esquina album he made the same year with Brazilian superstar Milton Nascimento, Lô Borges’ 1972 solo debut proves that his influence on Nascimento was quite strong. The recording is texturally lush and dreamy, at times urgent and bizarre, and filled with the fantastic and intricate guitar playing one would expect of Borges after hearing his dazzling work with Nascimento. His vocal arrangements are lavish, often similar to the vocal qualities of George Harrison’s All Things Must Pass, and his instrumental arrangements are just plain confounding. Piano phrases mash in and out of control over the unorthodox yet clever progressions; polyphonic percussion interlocks with jazzed-out organ lines and thoughtful, melodic bass work. Occasionally, a string section will fall into place, fulfilling the album’s decorative quota, and the whole construction becomes watertight. It is truly stunning to pick apart the timbre of individual instruments and realize how necessary and meticulous each part is in the overall presentation. Borges is one of those arrangers who can build up a music bed with miles of depth and construct a wall of sound, yet keep the overall concept in crisp focus. No layer of the instrumentation seems to ever become obscured by another, nor does any part seem unnecessary, and so much is going on rhythmically and melodically that it demands full attention. The remarkable quality of Brazil’s musical culture to seamlessly integrate as many outside influences into one place is well represented here. Many western textures, such as soul, rock, jazz, and pop, are absorbed into the picture with fervor and grace rarely executed in the world of western music. “Não Foi Nada” illustrates this particularly well, but the melting-pot sentiment echoes through all of Borges’ performances here. ~

Gregory McIntosh, All Music Guide