UZ22 hails from Milton Nascimento’s home state of Minas Gerais and oddly enough, given Nascimento’s timeless writing, felt that his music needed to be “modernized” for younger listeners. I suppose the mini moog, heard on the tunes “Tarde,” “Clube da Esquina,” “Cais,” and “Leila,” the rap segments on “A Sede do Peixe” and the brief “Football (Soccer) Interlude,” and the electric guitar, heard throughout, are ways of achieving a contemporary sound. The effect of these fifteen tracks is sometimes like new age or smooth jazz, sometimes like modern rock, but almost always disembodied and evincing little if any Brazilian pedigree.
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