It's hard to escape Jobim's legacy in the jazz world today, or in the wider musical world, for that matter. Although the initial bossa revolution began to run out of steam a decade after the little-known Brazilian singer João Gilberto recorded some of the man from Ipanema beach's songs in the late-1950s, in the process launching them both as international phenomena, Old Father Time has since come down in unambiguous fashion on Jobim's side and in the early years of the 21st century his music has once more achieved global ubiquity. This no-frills, no-extras box set comprises five US releases: two slightly underpowered albums from 1966: Love, Strings and Jobim and The Wonderful World of Antonio Carlos Jobim (but not, unfortunately, their 1963 predecessor, Jobim's first US album, The Composer of Desafinado, Plays), A Certain Mr. Jobim from 1967, 1976's revelatory Urubu, and 1980's Terra Brasilis. The earliest albums here are less than enthralling: The Wonderful World pairs Jobim with Nelson Riddle, to surprisingly pallid effect. A Certain Mr. Jobim is more successful, not least because of the presence of arranger/conductor Claus Ogerman, who would partner Jobim through so much of his career and whose wistful, occasionally haunting charts complement Jobim's own melancholy musical vision so well. The sprawling double-album set Terra Brasilis sees Jobim offering some interesting second thoughts on his earlier career, and includes versions of ‘The Girl From Ipanema’, ‘Desafinado’, etc. But Urubu is the centrepiece, proof of Jobim's daring and genius and a magnificent response to the wider world's bossa fatigue. The first four tracks, heralded by the densely percussive, occasionally dissonant ‘Bôto’, explore the outer reaches of the Brazilian pop sound world before the second quartet of compositions carry the set into classical orchestral territory. Anguish has rarely been so lushly tormenting as on ‘Saudade Do Brasil.’