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Three late 70s Capitol Albums by Raul de Souza: æSweet LucyÆ (1977), æDonÆt Ask My NeighborsÆ (1978) and æTil Tomorrow ComesÆ (1979) available in a double CD package, with additional bonus tracks.Unquestionably a giant of Brazilian music, whose mastery of the trombone placed him in the instrumentÆs elite.Featured tracks to check out on this package include æSweet LucyÆ, æOvertureÆ, æDaisy MaeÆ, æJump StreetÆ and æDonÆt Ask My NeighborsÆ to name but five.With sleeve notes by MOJO and Record Collector journalist Charles Waring. Born JoÒo JosÚ Pereira de Souza in Rio de Janeiro on 23 August 1934, Raul de Souza played with the legendary Brazilian composer and bandleader Pixinguinha at the age of 17 in 1951 and, a year later, performed with Agostinho dos Santos, a popular singer who later had a role in the burgeoning bossa nova movement of the late 1950s.Encouraged by his friend percussionist Airto Moreira and his wife, singer Flora Purim, Raul left Brazil for the USA in the early 70s. In 1976, he contributed to an album by a US-based Latin fusion group called Caldera, which was released on Capitol Records and put him in the orbit of its executive producer Larkin Arnold.For RaulÆs debut LP, æSweet LucyÆ, Arnold paired him with the capable George Duke, a jazz musician with a deep appreciation of Brazilian music who was just beginning to branch out as a record producer. Raul also worked with George Duke in 1978 on the follow-up album, æDonÆt Ask My NeighborsÆ, although Duke is credited under the alias Dawilli Gonga. George Duke vacated the producerÆs chair for the third Capitol Album ÆTil Tomorrow ComesÆ to be replaced by Arthur G. Wright, a prolific guitarist, songwriter, arranger and producer from Los Angeles whose credits ranged from Diana Ross to Linda Ronstadt. He surrounded Raul with some of LAÆs best session musicians including keyboardist Greg Phillinganes, saxophonist Ernie Fields, guitarist David T. Walker and drummers Ed Greene and James Gadson - and concocted a different musical backdrop for the trombonist; one that tapped more heavily into disco and R&B rather than jazz.