Fifty years on, and it still sounds like a secret. Carlos Walker's A Frauta de Pã remains one of those rare Brazilian albums that collectors circle obsessively, its original RCA Victor pressings commanding reverence - and prices - entirely disproportionate to the world's awareness of it. That wait is now over.

Recorded in 1975, when Walker was just 19 years old, A Frauta de Pã arrived at a precise confluence in Brazilian music - that charged mid-decade moment when MPB (Música Popular Brasileira) was pushing toward something more orchestral, more psychedelic, more restless. This was the same year João Bosco released Caça à Raposa on RCA Victor; the same Rio studio air that carried Milton Nascimento, Caetano Veloso, the first stirrings of what would become Azymuth.

Walker stepped into that world not as an apprentice but as a singular voice, and assembled around him an ensemble of near-impossible brilliance: Bosco himself, the guitarist Hélio Delmiro, keyboardist José Roberto Bertrami of Azymuth, the arranger Gilson Peranzetta, and the elder maestro Radamés Gnatalli, who contributed one of the album's most tender arrangements. Together, they made something that doesn't quite sit still within any genre - and has therefore been quietly adored by those who found it ever since.