Pedro Moutinho was born in 1976 in Oeiras, Portugal, not far from Lisbon.
He's the youngest brother of two other wellknown Fado singers, Helder Moutinho (who also produced this record) and Camané.
"Encontro" was his second album, the first was "Primeiro Fado" (2003), the newest - and for me the best one - is "Um copo de Sol" (2009).

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"Both a remarkable composer and musician who knows how to mix his folkloric, lyrical roots with any modern style he encounters" (Double Bassist). Bica gained international fame through his work with such as Maria Joao, Kenny Wheeler, Ray Anderson, Aki Takase, and Paolo Fresu. (..) Now this is Azul's third strike. Again it is Frank Möbus on guitar, one of Europe's leading guitarists and leader of the band Der Rote Bereich, and Seattle-born Jim Black on drums who brings in some Knitting Factory adventure.

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Joao's "white album" -- a hauntingly sparse, beautiful, and quite ethereal recording. One of the best Brazilian records ever made. Next to his debut albums of the 1950s, this is probably the best work Gilberto ever did -- and that's saying a lot! HIGHLY recommended!

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Ida e Volta showcases a young guitar virtuoso who is advancing Brazilian music for a contemporary world audience through technique, composition and stylistic innovation. (E.Simon, All About Jazz)

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Pedro Moutinho is one of the new values of Fado in Portugal. Recently he won the Amalia Rodrigues prize, due to his previous works. “Quem o ouve não o esquece... Nem pela voz que genialmente conseguiu desprender do irmão mais velho (Camané) para que se tornasse única e arrebatadora, nem pelo gesto ou atitude, muito menos pelo olhar e pela entrega.” (Alexandra Carita, Expresso)

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Lipatti was so weak he could barely walk to the piano. But once he began playing, he became transformed. Despite his youth, Lipatti poured into his performance a unique wisdom, a distillation of everything he had lived for. He knew that this would have to stand as his final statement as an artist and that there could be no afterthoughts or retakes. As fine as were his studio readings, he achieved a genuine transcendence at Besançon. (...) This CD documents not only one of the greatest recitals ever recorded but an overwhelmingly emotional monument to the strength of the human spirit. In the words of Madeleine Lipatti, it serves to recall "an extinguished star whose fire still gives us light."

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Jazz arranger Claus Ogerman brings an impressive modernism to bear on this album, with some truly tweaky, challenging string arrangements. At times brooding, jagged and even a bit foreboding, Ogerman's contributions seem strongly influenced by 20th Century avant-classical music. The second half of this album devolves into syrupy mush, though, so tread lightly. Issued in the U.S. under the title Tom Jobim, this is one of his most striking and powerful albums.

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Jobim is recognised the world over as one of the most influential composers of the 20th century. He has been musically productive right up to his death in December 8th 1994. His last album, "Antonio Brasileiro", was released posthumously soon after.

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"One thing I noticed with all of the many stars that we brought to São Paulo - everyone expressed to me that they really wanted to come for one purpose... because they love the music of Antonio Carlos Jobim. And so do I." Herbie Hancock

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- "Few pianists have such a spectrum of dynamics at their disposal as Arriale....Her melodic improvisation on 'Ballad Of The Sad Young Men' is crystalline and touching." - Down Beat, 4 stars out of 5 - "An inventive jazz deconstruction of Sting's 'Wrapped Around Your Finger' grabs the attention on NUANCE..." - Record Collector, 4 stars out of 5 - "A knockout" - Jazz & Blues Report - "First rate" - Star-Ledger

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