After reading the customer reviews of this disc, I feel compelled to chime in. This is a fine album, but it's not jazz, doesn't purport to be jazz, and thus shouldn't be criticized for not being jazzy enough. It was conceived by Carlos Jobim as a tribute to one of the greatest Brazilian composers of all time, Heitor Villa-Lobos. The project is executed with great feeling and beauty. Anyone who would call this "schmaltz" is unable or unwilling to approach Carlos Jobim as a serious composer and instead treats his work as if it were not something of real value but only of novelty value to be played as background music for a dinner party, a seduction, or a quiet evening at home. I can recommend this album very highly to those who are interested in actually listening to some wonderful pieces of music in the Brazilian tradition.

For those discovering Jobim and his bossa nova sound, Urubu will come as a surprise: it's neither bossa nor jazz, but a stunning confluence of both, resulting in a heavily-orchestrated type of 'easy listening' that is anything but. Jobim's recognised compositional idiosyncrasies and Claus Ogerman's lush arrangements keep pulling the music (and the listener) away from the deadness of muzak and into an extraordinary soundscape of traditional instruments and Brazilian-style orchestration. A note also has to be made here about the warm, analogue-sounding transfer to cd, which is crystal clear yet light as meringue. If you like the idea of music that slips down like soft ice cream on a hot day, yet doesn't leave any sickly aftertaste, then get this album!!!

Jobim has a very special musical signature and this production is representative of his style, including variations within the key of the melody, harmonies, and other musical traits and characteristics comprising his ¨musical personality¨. Albeit this is not music for every or any ¨ear¨ and taste, I deem this production worthy given my attribution of musical, ethnical and collector's value.

My all time favorite Jobim recording. So beautiful, sophisticated, and romantic.

The first four selections have Jobim on vocals, with orchestra arranged and con-

ducted by the brilliant Claus Ogerman. The first tune, "Boto" (Porpoise) includes

vocalist Miucha (second wife of legendary Brazilian superstar/composer Joao Gil-

berto) in an elegant duet with Jobim, and at over 6 minutes in length, is the long-

est vocal track on the cd. "Angela", the last vocal track, is one of the most in-

credibly romantic and beautiful things Jobim EVER wrote. It's a piece not heard

very often, although Brazilian pianist/vocalist Eliane Elias did a sublime version on

her 1990 cd "Plays Jobim". Also, another great performance of it can be found on

Jobim's classic 1981 collaboration with Edu Lobo, "Edu & Tom", on the Mercury la-

bel (Universal 2007 cd) while the same "Urubu" version is also on Japanese pianist

Ryuichi Sakamoto's beautiful 2001 Japanese remastered import Jobim compilation

cd "O Brilho Do Tempo". The other two vocal tracks, "Ligia" and "Correnteza" (The

Stream), are gorgeous as well. "Correnteza", co-written with Luiz Bonfa, can also

be heard with vocalist Miucha on Japanese songbird Lisa Ono's fabulous cd interpre-

tations of Jobim called "Ipanema - The Music of Antonio Carlos Jobim". The rhythm

section for the first four selections (only) includes Jobim on Fender Rhodes piano,

Ron Carter on bass, Joao Palma on drums, and Ray Armando on percussion. The last

four selections on "Urubu" showcase Jobim the composer in a strictly orchestral

setting with large orchestra, including a choir of gentle voices perfectly matched

with it. This is some of the most serious and mesmerizing composing one will EVER

hear from Jobim, and can even be interpreted as symphonic works in their depth and

complexity - a genuine work of art. Jobim's son, Paulo, contributes one composition

here, "Valse" that is very gentle and beautiful. Claus Ogerman, again, conducts

the orchestra through the intricate charts Jobim composed, and also produced the

entire album. From 1976, when it was originally released, this is utter BRILLIANCE

and breathtakingly beautiful. I have probably listened to "Urubu" a few hundred

times, since I first heard it, and it never fails to amaze me. But, apparently, there

were serious disagreements and difficulties in the creation of "Urubu" with Jobim

and Ogerman. In the original liner notes to the album, Jobim thanks legendary pro-

ducer Tommy LiPuma (Warner Bros.) for helping to work things out. Jobim also noted,

"When Claus left New York for Munchen(Germany), I felt like fleeing to Rio. And we

both knew that. So I didn't. Winter, as you well know, is grey, dreary, cold, and

long in New York, especially in a hotel room with the threat of one's wife suing

for divorce for not coming home in due time. Chiefly when you love her. But alone-

ness is not loneliness. And Claus came back and the record was made." How great

for us all!! This was Jobim's tribute record to legendary Brazilian composer Heitor

Villa-Lobos and it's a masterpiece - one of the most beautiful albums ever made by

ANYONE. Pure perfection - a desert island disc. 500 billion stars.

For those discovering Jobim and his bossa nova sound, Urubu will come as a surprise: it's neither bossa nor jazz, but a stunning confluence of both, resulting in a heavily-orchestrated type of 'easy listening' that is anything but. Jobim's recognised compositional idiosyncrasies and Claus Ogerman's lush arrangements keep pulling the music (and the listener) away from the deadness of muzak and into an extraordinary soundscape of traditional instruments and Brazilian-style orchestration. If you like the idea of music that slips down like soft ice cream on a hot day, yet doesn't leave any sickly aftertaste, then get this album!!!