by Alvaro NederNey Matogrosso has been developing an important career in MPB. Beginning as a pop artist in 1973 supported by his exotic counter tenor voice and scandalous sexual ambivalence, in 1985 he decided to create a work within the good tradition of MPB, yielding the album Pescador de Pérolas. Since then, he has more and more delved in the generous waters of Brazilian music and its masters. This one brings Villa-Lobos and Tom Jobim. Not the symphonic Villa-Lobos, but his chamber pieces, which evidence the truly Brazilian character of his work, easily adaptable to these popular renditions without losing the sophistication and the Brazilian soul so cherished by the Brazilian music genius. Jobim, opportunistically vulgarized through myriad recordings after his decease, had less known tunes chosen by Matogrosso: "Modinha," "Tema de Amor de Gabriela," "Sem Você," "Canção em Modo Menor," "Pato Preto." Freed from the interpretative excesses of the past, helped by excellent musicians who include the talented melodic percussion of the group Uakti, Matogrosso emerges as a mature, elegant artist, profound and dense as is the repertory chosen to express his love and admiration for Brazilian popular music.