Egberto Gismonti Albums (22)
What The Critics Say
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
'Egberto Gismonti (Luzes da Ribalta)'
Release Date 12/17/1996
Tracks 8
Label Polygram
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What The Critics Say
This album brings Egberto Gismonti (mainly at his custom-made violões, just a couple of tracks at the piano), Nando Carneiro (violão, a discrete keyboarding), and Zeca Assumpção (double bass). The album comprises a broad dynamic range, from the peaceful, melancholic, and meditative to the aggressive, percussive, and dissonant. It brings a major difference from albums such as Dança Das Cabeças in the sense that the musical themes are delivered in a more direct manner, while Dança was more ambiguous. From the excellent music of this album, the northeastern-inspired bass solo of "Orixás" and the beautiful theme "Forrobodó" can be mentioned. ~ Alvaro Neder, All Music Guide
What The Critics Say
Egberto Gismonti's profound search for the universal departing from the particular is always an applauded approach. On this album, one can recognize references from several cultures, but that never resembles an opportunistic pastiche. The cello parts (played by Jaques Morelembaum) and some rhythmic motifs (such as the one in Bianca's theme) are reminiscent of Brazilian tradition, especially Heitor Villa Lobos' work (which although is taken with reserves by Gismonti in his spoken speeches, seems to transpire in his music unconsciously). His compositions can be meditative but also reflect the ingenuous happiness of folkloric dances. Tender lyricism again reveals a touch of naïveté balanced with an original perception of the universal patrimony of humankind. His music, even more challenging in the required sensibility for the folk element that is almost always missing in cultivated musicians, finds a proper channel in the passionate delivery of Jaques, Nando Carneiro, Zeca Assumpção, and Gismonti himself. ~ Alvaro Neder, All Music Guide
'Presents a Musical Childhood with Infancia'
Release Date 1/1/1991
Tracks 8
Label ECM
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What The Critics Say
Much of this CD is at a quiet volume, but the music is full of tension and inner excitement, with repetition used very effectively. Filled with memorable folk melodies that flow logically (the jubilant main theme of "Infancia" is a high point), the music is quite stimulating, often shifting moods gradually and coming up with unexpected twists. Gismonti (mostly on piano but making two appearances on guitar) is the lead voice in his quintet, and he contributed all of the compositions, so he deserves the main credit for the recording's success; well worth searching for. ~ Scott Yanow, All Music Guide
What The Critics Say
Featuring his popular composition "Frevo," Egberto Gismonti's Solo disc finds the great Brazilian guitarist ranging wide on a handful of stunning originals. Having already established himself as a composer in his native country and in Europe, Gismonti began to gain even wider notice with a series of topnotch ECM releases starting in 1977. His resumé includes work with such Brazilian heavyweights as Nana Vasconcelos (his longtime musical partner), Airto Moreira, and Flora Purim, as well as collaborations with jazz greats like Cal Tjader, Herbie Hancock, and Jan Gabarek. Here, Gismonti is just fine as he takes flight without any companions, treating listeners to a provocative and often meditative solo program. ~ Stephen Cook, All Music Guide
