E a Gente Sonhando is Milton Nascimento's first album of new material in almost a decade, a time he spent occupied with other musical projects such as revisiting the works of Tom Jobim. For this record, Nascimento attempted a return of sorts to the collective spirit of his 1972 masterpiece Clube da Esquina, as he gathered around a group of 25 young musicians from his hometown Três Pontas in pursuit of the inspiration that had been slipping away from the Minas Gerais' singer for some time. Nascimento certainly sounds rejuvenated on E a Gente Sonhando, arguably his strongest collection since 1990's Txai. Part of the reason has to do with that, for once, Nascimento is not trying too hard with a new concept or an overblown production, but instead concentrates on the basics of his own unique style. In fact, E a Gente Sonhando can be considered an excellent compendium of the type of songs typically associated with classic Milton Nascimento. Many are sublime ballads, including the first three tracks, which set a dignified mood for the album, even if brisker numbers are later introduced. Gradually, other characteristics of Nascimento's style begin to appear, such as the extensive use of choir or secondary voices in call and response patterns ("Raras Maneiras," "O Sol," "Espelho de Sol") that showcase young vocalists Bruno Cabral and Paulo Francisco. In another inspired decision, the orchestral arrangements that overwhelmed some of his latest productions are replaced by the stately piano of Ismael Tiso Jr. (son of Nascimento's lifetime friend and collaborator Wagner Tiso), unquestionably the album's musical anchor. As usual, Nascimento writes part of the material with Fernando Brant, as well as a track each with Flavio Henrique and Pedrinho do Cavaco, picks from some of his favorite songwriters (Vitor Ramil, Lulu Santos, Marcio Borges...), and also introduces songs by Hector Branquinho, Clayton Prosperi, and Marco Elízeo to a new generation. The latter is also the album's co-producer and arranger. As for that thing of beauty that is Milton Nascimento's voice, even if it has grown lower with age, and is not so prone to break into its heavenly falsetto, it still remains one of the beacons of world music.