Composer/arranger/producer Aldo Brizzi is one of the vanguard leaders of Italy’s contemporary classical music world. In the late ’90s, Brizzi got so into Brazilian culture that he learned to speak fluent Portuguese and moved to Salvador, Bahia. The seeds of Brizzi do Brasil were germinated in Paris during the World Cup while the composer was hanging out with Brazilian artists. Brizzi thought, “Wouldn’t it be dope to compose and arrange my music in a MPB style, mix in some jazz/avant-garde/electronica grooves, put a Vinicius de Moraes swerve on it, then pull in some of the deepest Afro-Brazilian poets, singers and players to make it happen?” It would take four years worth of nurturing in Paris, Lisbon, Sao Paulo and Salvador recording studios for Brizzi’s exquisitely fragrant bouquet of 12 black orchids to bloom. From the Bizet-tinged melancholic beauty of the Teresa Salgueiro/Caetano Veloso duet “Misterio de Afrodite” to Virginia Rodrigues’ mellifluously angelic reading of “Cat’s” to the “Exodus” bassline-pulsing, feverish incantations of Tom Ze’s “Down, down, down,” Brizzi do Brasil succeeds beyond the maestro’s wildest dreams.