Saudacoes - Egberto Gismonti

Egberto Gismonti was quite prolific in the '70s and '80s, but his recorded output waned. Though he was somewhat active with limited live performances, he was more so through pen and paper. This is his first commercially available effort in some 15 years for the ECM label, and the double-CD set is as ambitious as anything he has ever done. The first disc is comprised of music performed by the Cuba-based Camerata Romeu, a string-based orchestra conducted by Zenaida Romeu. Recorded in Havana, it is a majestic symphonic sound that has been at the heart of Gismonti's prior works, but never in this wholly complete context. The second disc is a series of guitar duets from recordings done in Rio de Janeiro, featuring the elder acoustic guitarist and his 28-year-old son Alexandre Gismonti, featuring several familiar themes from previous recordings. The stark contrast between the two sessions not only reminds the listener of the classical side of this great artist, but also accentuates that he is not your typical Brazilian samba and bossa nova practitioner. A progressive musician through and through, Gismonti plays just as brilliantly as he conceives luscious, expansive, large string ensembles from a composer's standpoint. The seven-part suite "Sertoes Veredas" is a tribute to miscegenation (i.e., crossbreeding or procreation) reflecting different phases of life and living. An introductory mixed meter dance of violins suggests the motion of a train in a minimalist style similar to Steve Reich or Philip Glass, as choro meets the expansive Italian Baroque of Antonio Vivaldi. A waltz with occasional whip implies compliant motion; the introspective and darker third section leads to the structural and architectural enormity of a skyscraper built in modern downtown Brasilia. The film noir-like fifth section has interlocking sounds that envelop a symmetrical framework, leading to Kurt Weill circus themes and a final pair of playful original songs for Gismonti's children. Of the seven guitar duets, fans will recognize the famous two- and four-beat excursion "Zig Zag" and the arresting triplet and three-chord accents of the stirring signature sound of the lengthy "Mestiço and Caboclo," with its stairstep scalar melodies set up by patient, confident constructs. For those who enjoy flamenco or strummed romantic guitar, it should be understood that the music of the Gismontis goes far, far beyond those parameters. The dizzying, vertigo virtuosity of "Danca dos Escravos" must be heard more than once to believe it exists and is in fact played in real time by two human beings without any overdubs. "Lundu" is equally impressive in a dense, active, lithe 6/8 time, while "Águas & Dança" is another well-recognized theme with perfectly held tension that seems to last much longer than its six and a half minutes. The younger Gismonti, who is quite capable in his own right, plays two solo pieces, including a finger-style "Palhaco" and the pleasant "Chora Antonio," while his papa concludes the set alone on the groove blues-styled title track. Saudacoes means greetings or welcome, certainly fitting for those who are still not aware of the genius musical being Egberto Gismonti. Longtime aficionados should not be surprised at the type of instrumental music offered on this recording, as there are many awe-inspiring moments and extended passages present. Gismonti displays prowess in the creation of continually stimulating and challenging modern music, to the point where all of us can be thankful that he is still doing it at a highly advanced and truly remarkable level. ~ Michael G. Nastos, All Music Guide