Álvaro Borges (1928, Ponta Grossa, PR, BR - 1994, Curitiba, PR, BR)

Álvaro Borges - 1989 - Araucária

Uma típica paisagem de Borges. Um caminho, uma pequena casa, um pinheiro do Paraná e os tons de marrom sobrepondo-se uns aos outros.

Araucária - 1989

Vinil sobre Eucatex - 35 x 40 cm

Borges typical landscape. A little road, a small house, some Paraná`s pine and layers of browns and beiges.

Araucária Tree - 1989

Vinyl on Plywood - 35 x 40 cm

Château Bouscaut 1981 Grand Cru

Vinho: Château Bouscaut - 1981 - Gran Cru Classé - Rouge - Lucien Lurton - Cadaujac, Graves, Bordeaux, França

Preço estimado de mercado: R$250 / garrafa

Garrafa aberta em: 1 de julho de 2008

Nestes vinhos mais antigos eu uso um saca-rolhas manual, com a espiral de aço fina e longa. Mesmo assim, pelo tempo que o vinho está deitado, a rolha sai “torcendo” e desmancha um pouco embaixo. Com cuidado, não cai nada dentro da garrafa. O vinho ficou em pé por um dia e acumulou uns 3mm de borra. Transferi para duas pequenas garrafas de cristal.

Merlot, Cabernet e Malbec. Uma grande e tradicional mistura de cepas. O profundo e brilhante tom de ruby salta aos olhos. Um disco de pérolas se forma na superfície do vinho onde ele encontra a parede da taça. O aroma é masculino com um que de pimenta. Os taninos são predominantes e associados a frutas secas e frutas silvestres.

Foi saboreado ao longo de 4 dias, foi arredondando a cada dia e continou bem aceso até o final.

A acidez presente ainda promete longevidade para este ótimo vinho.

I was publishing Caroline as a short story but, in fact, it was transformed in a novel.

To not loose coherence, some things was changed in the beginning, specially because each chapter was wrote and published almost in real time.

I must to begin to publish Caroline (that changed title) here again.

Este conto que eu estava publicando em partes já está quase pronto. De fato acabou por transformar-se em livro.

Algumas situações foram modificadas no início para não perder a coerência, especialmente porque cada capítulo era escrito e publicado, quase que em tempo real, aqui no Urubu Mundi.

Devo recomeçar a contar a história aqui novamente.

Well.

After some personal considerations I am coming back. And coming from behind.

Cya!

Bem.

Após algumas considerações eu volto a escrever.

Aguardem!

Hello.

I am having some personal problems, thus, I couldn't write posts with the habitual regularity.
This way is the life, sometimes the things that we like the most are taken off.
We have control on nothing.

The future…
Perhaps…

Dalton

Olá.

Estou passando por alguns problemas pessoais, assim, não vou conseguir incluir material com a regularidade habitual.
A vida é assim, as vezes as coisas que nós mais gostamos nos são tiradas.
Nós não temos controle sobre nada.

O futuro…
Talvez…

Dalton

Triumvirat - Illusions On A Double Dimple (Digitally remastered) - 1973 / 1974 / 2002 - Harvest / EMI 5 35162 2

When comparing Emerson, Lake & Palmer and the Rat, is obvious the equal composition of the two groups and the classic formation of its musicians, what it made with that the Triumvirat passed to be known as the German ELP. However at this time where the progressive rock in the whole world flowered, the similarity in the works between some bands beyond evident, was natural. The tendencies were the same, but in this case, despite equals, they were very different.

Triumvirate is a type of government exerted for three people with equally power. In the case of the German group Triumvirat, the power is clearly of the baterista Hans Bathelt and the multi-keyboardist Jürgen Fritz. Not that the quality of Helmut Köllen, who substituted Hans Pape, either inferior, but the capacity of creation of the two first ones is that shows the face of the Triumvirat. The drums establishes the rhythm and its sudden changes, the keyboards make solos where are perceived many fugues and the bass fulfills its function in a competent form. Added to the instruments of the band a string orchestra, metals and chorale. 

The original album released in 1974 and that it make reference to the effect provoked for a shot of double scotch (Dimple), presented only the two first bands. In this version  they had been enclosed four singles released in 1973 and 1974. This CD was very well remastered, eliminating noises without reducing the dynamics. The sonorous space it was kept, the instruments and the vocals are well distinct. However some stridency is perceived, don't compromise the final quality.

The two suites “Illusions On the Double Dimple” and “Mister Ten Percent” mix psychedelic rock, jazz-rock, art-rock, punk-rock and progressive rock in a magnificent way. The sudden rhythm changes in them lead for different worlds each time. Of the first one “Triangle” is Triumvirat in the essence: drums, chorale in falsetto and the unisonous, that they go to come back at the beginning of “Last Dance”. "Dimplicity” is excellent and remembers “The Who” and “Sgt. Peppers”. “Mister Ten Percent”, that it was apparently dedicated to a recently fired manager, is the best of the two suites. It starts with contemporary and impressionist piano in “Dawning” that remembers Satie and that goes to “Bad Deal” with a hard and weighted vocal that finishes with strings, chorale and a beutiful sax solo. In “Roundabout” the instruments were alternating, with a great one minute of bass and drums. Finally “Million Dollars” with the balanced participation of all the group, is a gorgeous ballad that remembers Paul MacCartney and that finishes with strings, brass and chorale.

      
The tracks “Dancer's Delight” and “Timothy” are part of single of same name, where first is very actual, with punk-rock, weighted guitar, drums and few keyboards solo. Second it is an excellent “progressive Beatles”. The two last tracks are of single released one year after the first one and are part of this album.

Tracks:
1. Illusions On A Double Dimple 23:22
    Flashback (Fritz - Bathelt) :54
    Schooldays (Fritz- Bathelt) 3:20
    Triangle (Fritz) 6:55
    Illusions (Fritz - Bathelt) 1:40
    Dimplicity (Fritz - Bathelt) 5:28
    Last Dance (Fritz) 4:42
2. Mister Ten Percent 21:31
    Maze (Fritz) 3:01
    Dawning (Fritz) 1:01
    Bad Deal (Fritz - Bathelt) 1:40
    Roundabout (Fritz) 5:49
    Lcky Girl (Köllen - Bathelt) 4:32
    Million Dollars (Fritz - Bathelt)5:19
3. Dancer's Delight 3:32
4. Timothy 4:08
5. Dimplicity (edit) 3:15
6. Million Dollars (edit) 2:35

Band: Jürgen Fritz (Hammond Organ, Moog Synthesizer, Electric Piano, Steinway Grand Piano, Vocals), Hans Bathelt (Percussion) e Helmut Köllen (Bass, Acoustic & Electric Guitars, Vocals). Hans Pape (bass) on track 1.
Strings section of The Cologne Opera House Orchestra.
The Kurt Edelhagen Brass Section.

Recorded at EMI-Electrola Studios Cologne, between June & October 1973.
Recording Engineers: W. Thierbach & K. Lorbach.
Digitally remastered by J. Cremer & J. Müller-Koslowski

…continued from "Caroline - IX. Following Cockroaches"

Carolina was few minutes lowered close to the great grave and before could be perceived she left quiet for the great lateral corridor in direction to the kitchen. Nothing indicated that Nuts were carrying through any activity that were common in the life of the cockroaches. Exactly the opposite. It seemed that a convention with weird intentions were occurring. It seemed that the cockroaches were organizing theirselfs to does something. Everything seemed, but who were she to figure what they are thinking and what they do. With this thought, Carol realized that Nuts were starting to scare her a little.

Already were the middle of afternoon when she entered in her room. Went until hers “private” drawer and caught the rough draft notebook and the copies that make of the plants of St. Claire. He spread the material on the small table in a way that could have of them a general vision.

She had analyzed with care the General Plant and the Plant of the Ground Level. Already had rambled for the entire boarding school, going to all the places that were not forbidden or that were not locked. Especially, already she makes diverse anotations in hers great notebook when details most interesting were noticed. Today she would analyze the superior floor and all its compartments.

Thus, she unfolded the copy looking it with all well-taken care. She does not forget that had mainly to see each one of the “trees” that composed this intricate “forest”.

St. Claire – 2nd floor

1. Cells of the Nuns 2. Baths 3. Superior hall
4. Room of the Superior 5. Stairs 6. Rooms of the Interns
7. Religion Classroom 8. Room of Carolina 9. Classrooms
10. Laboratory of Sciences 11. Room on the Stable

Side by side, the Plant and the big notebook. She already had divided it in six topics. In the first one of them, what Gert was tolding, was being indiscriminately written down. The second was used to detach the points that seemed to have any type of confirmation. In third, in contrary of the second, she separates everything what could be rumor or everything what indicated to be personal opinion of Gert. The fourth topic of the notebook was used to organize the events in chronological sequence and already it enclosed information since the discovery of the “Book” in 1.700. In fifth she sketched the diverse Plants of St. Claire found in the library, on which she made diverse notations. The sixth and last topic was where she wrote hers conclusions and, many words had been added and many had been deleted.

From time to time, Carol gone to the romm's window and from there she was observing the outside, while she tried to organize her thoughts. The time goes fast when we are deeply concentrated. Thus, when he gave for herself, the night already had fallen and Carol had to light the great candle on her small table. When the trembling and weak light illuminated her notations, she perceived a small shade projected on the papers. Nuts, with the antennas always in movement, was to the side of the notebook seeming very interested in what was written. Surprised for the light, turned over quickly, went down for the table foot and disappeared in the dark.

After passed the initial surprise, Carol called diverse times for the cockroach, but Nuts did not reappear. Its name echoed briefly in the entire room. Then, the absolute silence come back.

To be continue…

Vinho: Bodega San Telmo - 2002 - Cabernet Sauvignon (Mendoza, Argentina)
Compra: 2004, 6 garrafas, $8.00 / garrafa

Cor rubi intenso, com tonalidades de juventude. “Pega” bem no cálice. Aroma agradável de frutas secas e alcool. Sabor jovem mas intenso, taninos, alcool, nozes e amora.

Complexo o suficiente para acompanhar refeições onde os molhos sejam pesados: massas ou carnes temperadas.

urubu, 11/6/06

4 Generations of Miles - 2002 - Chesky Records JD238

Gravado ao vivo no Makor, um clube próximo ao Lincoln Center, NY, em 12 de maio de 2002, “4 Generations” é mais uma homenagem ao 75o aniversário de nascimento de Miles Davis comemorado em maio de 2001. O importante é que este não é “mais um” álbum: este é “o álbum”.

Eu já escutei comentários extremamente positivos e outros muito negativos sobre os problemas de se juntar um grupo de estrelas por ser difícil reprimir o brilho individual antes que ele ofusque o brilho do outro. Neste CD o equilíbrio foi conseguido e todos conseguem brilhar em conjunto, cada qual lembrando e representando a sua própria experiência com Miles.

Pela ordem cronológica em que trabalharam com Miles Davis temos:

de 1958 a 1961 o baterista Jimmy Cobb, que participou do álbum “Kind of Blue” de 59;

entre 1963 e 1964 o saxofonista George Coleman;

Ron Carter tocou baixo de 1963 a 68 no segundo quinteto de Miles junto com Herbie Hancock e Wayne Shorter;

e o eclético guitarrista Mike Stern entre os anos 1981 e 85.

As minhas faixas preferidas são: “All Blues”, onde o sax deixa claro as raízes do blues de Coleman, a excelente guitarra de Stern e um arranjo que faz uma música tão tradicional soar completamente nova; em “Blue in Green” que começa com guitarra, saxofone, volta para a guitarra, mostrando a serenidade de Coleman com notas que parecem pinceladas de Stern e um Carter que entra mais “pesado”; “My Funny Valentine” que foi transformada em peça essencial do jazz moderno por Miles é renovada, suave e quente nas mãos de Coleman e de Stern, completada com os ótimos improvisos de Carter; e finalmente, uma session para toda a banda, “Oleo” com grande espaço para a ótima bateria de Cobb.

A engenharia de som coube a Barry Wolifson que soube representar na gravação final o espaço não muito grande do Molikor. Você vai sentir-se junto à platéia, ouvindo a banda lá no palco, tendo os instrumentos seus lugares bem definidos na imagem sonora, com acordes detalhados e sem que haja sobreposição de um sobre o outro. Este disco foi escolhido o disco do mês em novembro de 2002 pela revista Stereophile.

Faixas:
1.There is No Greater Love
2.All Blues
3.On Green Dolphin Street
4.Blue in Green
5.81
6.Freddie Freeloader
7.My Funny Valentine
8.If I Were A Bell
9.Oleo

Banda: George Coleman (tenor saxophone), Mike Stern (electric guitar), Ron Carter (acoustic bass) e Jimmy Cobb (drums).

My Earlier Cigar Experiences
Cigar: Don Pepe - Robusto (Brasil)
Shape: Robusto
Size: 5 x 50

Bought at Pipe Shop, 1 box, $4.00 each cigar
Smoked September 27, 1997. Very well constructed and constant color. Good burn. Spicy from beginning with touch of woods. Long finishing. Medium to full.
Evaluation: 75/100

Primeiras Experiências
Charuto: Don Pepe - Robusto (Brasil)
Formato/Tamanho: Robusto

Comprado na Pipe Shop, 1 caixa, $4.00 cada charuto
Fumei em 27/9/97. Muito bem construído e homogêneos na caixa. Boa queima. Apimentado desde o começo comtoques de madeiras. Longo retrogosto. Médio para forte.
Nota: 75/100

Fazem milhares de anos e
sempre nasceram mulheres.
E sem uma única excessão,
foram filhas todas estas mulheres.

Muitas não conseguiram, porém muitas mais
repetiram o que se repete há séculos.
Carregaram durante nove meses,
mantendo com a sua própria seiva,
uma nova vida em suas entranhas.

Nove meses depois e por vários meses mais,
estas mulheres cuidaram, sorriram, banharam,
trocaram, choraram e alimentaram
estes pequenos seres indefesos.

Mas como prever
em o que uma pessoa
irá se transformar
ao longo dos anos,
ao longo do tempo.

A inveja, a ganância,
a falsidade, a velhice,
acabam transformando
a maioria destas iluminadas mulheres que deram a luz
em simplórias mulheres.

Noutro lado, algumas não caíram neste caldo comum,
escaparam das armadilhas de sua própria ignorância
e conseguiram se transformar em mães.

Infelizes as primeiras e seus filhos.
Felizes os filhos e abençoados os maridos destas segundas.

Você me deu a R.
Você me deu o F.
Você conseguiu Estar mãe.
Mas principalmente,
você conseguiu Ser mãe.

Para nós, hoje não é o dia das mães.
Hoje para nós, é o Dia da Mãe.
Hoje, é o Teu Dia.

Para você e só para você,
todo o nosso amor.

urubu, 14/5/2006 (13/5/06, 14:35h)

…continued from Alkan - X. Works 6

15. (1846-61), Opus 63, "Esquisses"
These Sketches, also titled “Quarente-huit motifs” (forty and eight reasons), are probably the result of 15 years of works that had been published in 4 volumes. These studies follow the order of musical notes and vary in style, starting for harpsichord of century 17, passing for the piano forte of century 19 and come until the modern piano of century 20.

15.1. Laurent Martin (piano). Recorded in Germany, 1990.
_____

16. (1861), Opus 65-6, "3ème Recueils de Chants", "Barcarolle"
Very beautiful piece that can remember, in diverse passages, the modern piano compositions of 20th century. Yuo must to stop what are you doing to listen this music that "radiate a sweet melancholy".

16.1. Raymond Lewenthal (piano). Recorded January, 1965, New York.

16.2. Marc-André Hamelin (piano). Recorded in London, 1994.
_____

17. (1838) Opus 76, "Trois Grande Etudes"
It have three long movements: the first “Fantaisie”, the second “the Introduction, Variations and Finale " and the third “Mouvement semblable et perpetuel” are studies for the left hand, for the right hand and for the two hands respectively. The composition for the left hand was explored later by Scriabin, Ravel and Godowsky, amongst others. As traditionally, although written for the piano, they bring textures and characteristic dialogues of the orchestral composition, associates to the enormous difficulty for the interpretation. About 35 years ago a copy of this piece was found in the archives of Ravel, what can explain some similarity with his Concert in D major.

17.1. Marc-André Hamelin (piano). Live recording in Wigmore Hall, London, 1994.

_______________

The works had been presented by the order of each Opus and the sugested CDs are all of mine personal collection.

Alkan was exceptional composer and pianist, continues being fantastic in these days and his works will continue to fascinate the avant-garde music lovers.

Luiz Gagliastri (Curitiba, PR, BR)

Anjo Masculino (Male Angel) - 2000

Bronze Polido, Quartzo e base Granito
Polished Bronze, Quartz and Granite
24 x 21 x 12 cm

Veja também (see also) Gagliastri - Anjo Feminino

Memento - 2000 - Newmarket / Summit Entertainment - 113 min

Although at the beginning have 3 main artists credits, in fact the film is the story of only one character. The others all are suport actors, with a great advantage: nobody ruin the development of main story.

Leonard or Lenny (Guy Pearce) is an former-investigator of insurances that suffers from short-term memory loss. He remembers old things, but he forgets what happened some minutes before. Hunting the murderer of his wife (Jorja Fox), he becomes involved with a waitress (Carrie-Anne Moss) and with the strange Teddy (Joe Pantoliano). To survive, Lenny uses a Polaroid to register people and places and uses his proper body to tattoo important information that he needs to remember.

The editing is great and the music of David Julyan is very good, but the form that story is told goes surprise you. It is a thriller that get your attention from beginning until the end. Or it would be from the end until the beginning? From there then, in the end or in the beginningt, you can think that Trinity obtained her revenge on Cypher for what he had made her 1 year before in Matrix.

Lenny's drama can be summarized in his own words “I need to believe that, when closing my eyes, the world will continue to exist”. You go to watch one more time. It is really necessary.

"Navigare necesse, vivere non est necesse", Plutarch attributed this sentence to Roman general Pompeu, translated “To sail is necessary, to live is not necessary”, is used in the famous poem (To sail is Necessary) from Fernando Pessoa and transposed to also famous music (The Argonauts) from Caetano Veloso. As all poem it is possible infinite interpretations, always individual and always very personal. I can understand that it is more important to sail than to live. On the other hand, I can understand that the art of sail is a precision art, while living is inexact ("Preciso" means Need or Precise in Portuguese). I accept the two interpretations and imagine how many we all would get. Our “heads” are planning efficiently, all instant, our life. Some similar thing already happened with me or with whom I know? Which is the current situation? Which are the tendencies? What to make if? How to make to? And finally, do I put my hand in her leg or not? Our intellectual capacity to plan mentally finishes for becoming the great enemy of the “formal” planning. The problem starts with the difficulty “to pass to the paper” in an organized form these thoughts. After that, it comes the upheaval of the accompaniment what really happened with what I planned. Then, the difficult analysis of the results when compared with the information that I have. And finally, the feedback, the correction, the learning with the rightnesss and the learning with the errors.

(Mestrius Plutarch, 46, Chaeronea, Greek - 127, Greek)

This difficulty to transpose something so airy as the thought for the hard and white paper has origin when we initiate our learning. We start “to be machinized” and came receiving in homeopathic doses, beyond the laws of the robotics of Asimov, plus one: tips to learn by repetition. Instead of getting orientations to learn to think and to criticize, we learn musical stretches to don't forget some formula. Worse still it is that we came being punished severely when we made mistakes. Thus it is logical, we stop to try: without attempts, error-free; without attempts, rightness.

I go to use my Plutarco-Pessoa-Veloso incarnation to finish so that I could be interpreted the way you want: To plan is Necessary - To plan is not Necessary!

urubu, May 12, 2006.
__________

"Old navigators had a glorious phrase:
To sail is necessary; to live is not necessary.

I want for me the spirit of this phrase,
transformed the form to marry as I am:

To live is not necessary; what it is necessary is to create.
I don't want to enjoy my life; nor about enjoying it I think.
I only want to become it great,
despite for this it has of being my body and (my soul) the firewood of this fire.

I only want to become it of all the humanity;
despite for this I has of losing it as mine. Each time more thus I think.

Each time more I put of the psychic essence of my blood
the impersonal intention to become greater the native land and contributing
for the evolution of the humanity.

It is the form that in me took the mysticism of our Race."

(August of 1918)

(Fernando Pessoa, 1888, Lisbon, Portugal - 1935, Lisbon)
__________

"The Argonauts

The boat, my heart does not support
So much storm, joy
My heart does not content
The day, the marker, my heart
The harbor, not

To sail is necessary,
To live Is not necessary

The boat, night in yours so pretty
Free smile, lost
Horizon and dawn
The laugh, the arc, the dawn
The harbor, nothing

To sail is necessary,
To live Is not necessary

The boat, the shining automobile
The free track, noise
Of my tooth in your vein

The blood, the mire, slow noise
The harbor, silence

To sail is necessary,
To live Is not necessary"

(1969)

(Caetano Emanuel Vianna Telles Veloso, 1942, Bahia, Brazil)

…continuação de “Carolina – IX. Seguindo Baratas”

Carolina ficou uns poucos minutos abaixada perto do grande jazigo e antes que pudesse ser percebida saiu silenciosamente pelo grande corredor lateral em direção à cozinha. Nada indicava que Nuts estivesse realizando qualquer atividade que fosse comum na vida das baratas. Muito pelo contrário. Parecia que uma convenção com propósitos esquisitos estava ocorrendo. Parecia que as baratas estavam se organizando para realizarem alguma coisa qualquer. Tudo parecia. Mas quem era ela para imaginar o que imaginam e o que fazem as baratas. Com este pensamento em sua cabeça, Carol percebeu que Nuts estava começando a assustá-la um pouco.

Já ia o meio da tarde quando ela entrou no seu quarto. Foi até sua gaveta “secreta” e pegou o caderno de rascunhos e as cópias que fizera das plantas de St. Claire. Espalhou o material sobre a pequena mesa de estudos de uma forma que pudesse ter deles uma visão geral.

Já tinha analisado com cuidado a Planta Geral e a Planta do Térreo Já tinha perambulado pelo internato inteiro, indo a todos os lugares que não eram proibidos ou que não ficavam trancados. Especialmente, já fizera diversas anotações em seu grande caderno a medida que os detalhes mais interessantes eram notados. Hoje ela analisaria o pavimento superior e todos os seus compartimentos.

Assim, desdobrou a cópia e pôs-se a olhar com todo cuidado o que mai lhe chamava a atenção. Ela não se esquecera que tinha que principalmente enxergar cada uma das “árvores” que compunham esta intrincada “floresta”.

St. Claire – Planta do 1º. Andar

1. Celas das Freiras
2. Banhos
3. Hall Superior
4. Quarto da Superiora
5. Escadas
6. Quartos das Internas
7. Sala Aula de Religião
8. Quarto de Carolina
9. Salas de Aulas
10. Laboratório de Ciências
11. Quarto sobre o Estábulo

Ao lado da Planta, Carol abriu o grande caderno. Ela já o havia dividido em seis tópicos. No primeiro deles, o que Gert vinha contando, estava sendo indiscriminadamente anotado. O segundo era usado para destacar os pontos que pareciam ter qualquer tipo de confirmação. No terceiro, ao contrário do segundo, ela separara tudo o que poderia ser boato ou tudo o que indicava ser opinião pessoal de Gert. O quarto tópico do caderno era usado para organizar os acontecimentos em ordem cronológica e já abrangia informações desde a descoberta do “Livro” em 1.700. No quinto ela esboçava as diversas Plantas de St. Claire que encontrara na biblioteca, sobre os quais fazia diversas anotações. O sexto e último tópico era onde ela escrevia as suas próprias conclusões e aqui, muitas palavras foram acrescentadas e muitas foram apagadas.

De tempos em tempos, Carol se dirigia até a janela de seu quarto e dali ficava observando o lado de for a, enquanto tentava organizar seus pensamentos.

O tempo passa rápido quando estamos entretidos profundamente. Assim, quando deu por si, a noite já havia caído e Carol teve que acender a grande vela que ficava sobre sua mesinha. Quando a luz tremeluzente e fraca iluminou suas anotações, ela percebeu uma pequena sombra projetada sobre os papéis. Nuts, com as antenas sempre em movimento, estava ao lado do caderno parecendo muito interessada no que nele estava escrito. Surpreendida pela luz, ela virou-se rapidamente, desceu pelo pé da mesa e desapareceu na escuridão.

Após passada a surpresa inicial, Carol chamou pela barata diversas vezes, mas Nuts não reapareceu. O seu nome ecoou brevemente pelo quarto inteiro. Então, voltou a cair o silêncio absoluto.

Continua…

Wine: Niederthäler Hof - Corbeille du Paradis - 1992 - Vin de Pays de L´Hérault
Bought: 1995 - 12 bottles - EST $15.00

To situate this wine, here goes the official classifications of the French wines: 
- Appellation d' Origine Contrôlée - AOC 
- Vin Délimité de Qualité Superieure - VDQS, represent about 2% of the production
- Vin de Pays, 25% of the production 
- Vin de Table (vin ordinaire), 25% of the production 
The Land's wine, although to be third in the classification, can be superior to some VDQS or same AOC in quality and price. Many producers have invested in this category to compete with the new world producers - some point out the regional characteristics and others have developed specific grapes wines.

This Corbeille is wine of Languedoc's region, of L'Hérault's province. Light red color, brown-orange clearly, with red wooden tonality. Soft and cool aroma of apples and pears. Dry and soft flavor, lightly sweaty, remembering red fruits.

Refreshingly wine that goes very well with light foods.