NANÁ VASCONCELOS — Saudades (1980) FLAC (tracks+.cue), lossless

This 1979 recording is probably Afro-experimentalist Vasconcelos' finest. It presents his various facets -- berimbao playing, intricate overlain vocals, fine percussion, even gorgeous guitar -- simply and almost overwhelmingly. This is one of those performances that remind one to never let natural dogmatism get too out of hand. John Roberts
Tracklist :
1 O Berimbau 18:58
Naná Vasconcelos
2 Vozes (Saudades) 3:14
Naná Vasconcelos
3 Ondas (Na Ohlos de Petronila) 7:53
Naná Vasconcelos
4 Cego Aderaldo 10:32
Egberto Gismonti - Naná Vasconcelos
ft: Egberto Gismonti / Mladen Gutesha / Members of the RSO Stuttgart
5 Dado 3:36
Naná Vasconcelos
Credits :
Berimbau, Percussion, Voice, Gong – Naná Vasconcelos
Conductor [Members Of Orchestra] – Mladen Gutesha
Music By [For Strings] – Egberto Gismonti
Orchestra [Members Of] – Radio Symphony Orchestra Stuttgart

EGBERTO GISMONTI — Discografia 1969-2012 | 51 Albums | Mp3 | APE | FLAC (image+.tracks+.cue), lossless

Egberto Gismonti is world-renowned as a multi-instrumentalist and composer. He was profoundly influenced by Brazilian master Heitor Villa-Lobos, his works reflecting the musical diversity of Brazil. From the Amazon Indians' batuque to the Carioca samba and choro, through the Northeastern frevo, baião, and forró, Gismonti captures the true essence of the Brazilian soul in a way that is primitive, yet sophisticated, and reflects it through his personal vision, elaborated by years of classic training and literacy in a wealth of musical languages in which jazz plays a significant role.

Arvore From a musical family, in which his grandfather and his uncle Edgar were bandleaders, he started to take piano and theory classes at five. At that time, he also started to learn the flute and the clarinet, eventually taking the violão (acoustic guitar) in his teens. Following the piano classical tradition because of his father, he embraced the guitar to please his Italian mother, who was very fond of serenatas. Trying to transpose the piano's polyphonic quality for the guitar, he ended several years later with three custom-made instruments (ten-, 12-, and 14-stringed) and a personally developed two-hand technique. At eight, he started to study piano with Brazilian masters Jacques Klein and Aurélio Silveira for a 15-year apprenticeship. Establishing himself in Nova Friburgo, a small town near Rio, for one year and four months, he attended the Nova Friburgo Music Conservatory. Awarded with a scholarship to study classical music in Vienna, Austria, at 20, he refused it in order to delve deeper in the popular side. In October 1968, his composition "O Sonho," arranged by him for a 100-piece orchestra, was presented at the third International Song Festival (FIC), promoted by TV Globo, Rio, by the group Os Três Morais. This song, with its uncanny orchestration, provoked enthusiasm around and was recorded 18 different times by several international artists. Soon after in that year, he left Brazil for France, where he became the conductor and orchestrator for the French singer Marie Laforêt in an association that lasted for one and a half years. It was instrumental for him to meet and became a pupil of the great masters Jean Barraqué (1928-1973), a disciple of Anton Webern, and Nadia Boulanger (1887-1979), a former consultant to Ygor Stravinsky. The additional importance of these two icons upon Gismonti's career was to stress the unique richness of his country's background and urge him to pursue a singular expression rooted in the cabocla and mestiça tradition. This would cause him to return to Brazil in 1971. His first LP, Egberto Gismonti, was already released in 1969 through Elenco. There, he sang his own songs and had a partnership with the bossa nova composer Paulo Sérgio Vale. Also in 1969, he presented himself at the San Remo Festival in Italy. In 1970, he toured through Europe, recording two singles in France, one LP in Italy, one in Brazil (Sonho 70), and one LP in Germany (Orfeu Novo). His song "Mercador de Serpentes" was presented at the fifth FIC in 1970. Returning to Brazil in 1971, he settled in Teresópolis, another small town close to Rio. He played in several venues in Brazil and his music was included on the soundtracks of the movies A Penúltima Donzela (Fernando Amaral, 1969), Confissões de Frei Abóbora (Brás Chediak, 1971), and Em Família (Paulo Porto, 1971). In 1972, he recorded Água e Vinho (in partnership with poet Geraldo Carneiro) and in 1973, Egberto Gismonti and Adademia de Danças, all three LPs through EMI/Odeon, the latter of which was the turning point when he began to stress his instrumental work. After its recording, the producer said it made no sense at all. He received a note from EMI/Odeon saying that, due to Brazil's economic difficulties, that would be the last album of Gismonti's career: it was an album outside of any category, with 25-minute tracks, expensively produced with synths and orchestra. This album was awarded with the Golden Record in Brazil. From 1972 to 1991, he would record 19 albums for EMI/Odeon. In 1974, he accepted an invitation to play at a festival in Berlin, Germany, and asked Hermeto Pascoal and Naná Vasconcelos to join him in his presentation. He then met ECM's CEO, Manfred Eicher. Returning to Brazil, he received a letter from ECM in 1975, inviting him to record with them. Not knowing what would be the importance of that label, he postponed the response until the end of 1976. Then he accepted the invitation, imagining he'd record with the all-star Brazilian group he was performing with by then: drummer/percussionist Robertinho Silva, bassist Luis Alves, and saxophonist/flutist Nivaldo Ornelas. But the Brazilian military government had imposed a high fee for all leaving Brazilians at about 7,000 dollars. Being that cipher prohibitive for anyone in that group but him, he decided to record solo. Fearing that challenge, he was wandering through Norway when he met a Brazilian actor who was his friend. Invited to his home, he met Brazilian percussionist Naná Vasconcelos there. Having to record the album in three days, he decided to have Vasconcelos into it, and asked by him to describe the album's concept, he explained that both of them had a common history, and he proposed Vasconcelos use that album for telling it. It was the history of two boys wandering through a dense, humid forest, full of insects and animals, keeping a 180-feet distance from each other. He knew Vasconcelos would accept without hesitation, and he did. His LP Dança das Cabeças with Vasconcelos received several contradictory international awards reflecting Brazilian cultural richness: in England, it was awarded as a pop record; in the U.S., as folklore music; in Germany, as classical music. Either way, it changed both artists' lives: Vasconcelos immediately became a disputed international artist, touring worldwide; Gismonti returned to Brazil and decided to research Amazon folklore. In the heart of the Amazon forest, Alto Xingu, he tried to make contact with the Yawaiapitì tribe, playing his flute for two weeks until head chief Sapaim invited him to his home. They shared no common language other than music and Gismonti spent about a month living and learning with them, upon the condition of spreading the forest people's values. Two years later, with saxophonist Jan Garbarek, percussionist Colin Walcott, and guitarist Ralph Towner, he recorded Sol do Meio-Dia. His LP Solo, released that next year, sold 100,000 copies in the U.S. In 1981, with Garbarek and bassist Charlie Haden, he recorded the LP Magico. The same year, the trio toured Europe, including a concert at the Berlin Jazz Festival, and recorded a second Magico album, entitled Folksongs. In 1981, Gismonti again toured with Haden and Garbarek, performing throughout Europe. Also in that year, he recorded with his all-star group Academia de Danças (drummer Nenê, saxophonist/flutist Mauro Senise, and bassist Zeca Assunção) the double album Sanfona. With Vasconcelos, he recorded Duas Vozes in 1985. In 1989, he recorded Dança dos Escravos and in 1990, following the release of Dança das Cabeças, Gismonti toured the United States with his group, which included cellist Jaquinho Morelembaum, flutist/saxophonist Nivaldo Ornellas, and Edu Mello E Souza on keyboards. Also in 1990, he recorded Infância, accompanied by Nando Carneiro (guitar/keyboards), Zeca Assumpção (bass), and cellist Jaquinho Morelembaum. With the same group, he recorded in 1993 Música de Sobrevivência, an album inspired by the writings of the Brazilian poet Manoel de Barros, who reflects in his work the Brazilian duality of the cultivated Portuguese tradition and the massive illiteracy disseminated in that country, which, notwithstanding, deeply influences the official language. In 1995, he recorded with the State Symphonic Orchestra of Lithuania the CD Meeting Point. In 1996, Gismonti recorded with Nando Carneiro and Zeca Assumpção for the CD Zig Zag. As a businessman, he owns the successful label Carmo, which has several joint ventures with ECM. He also performed an almost impossible task: He bought the rights for all of his phonograms through EMI/Odeon for worldwide publishing, with the exception of Brazil. However, music continues to be his main focus. In 2009, Gismonti released the two-disc Saudacoes which featured one disc of his seven part composition, "Sertões Veredas -- Tributo à Miscigenação," and a second disc of guitar duets with his son Alexandre Gismonti. Alvaro Neder
Albums :
1969 ♦ Egberto Gismonti — Egberto Gismonti (Elenco – ME54CD) FLAC
1970 ♦ Egberto Gismonti — Orfeo Novo (2008, TAKE 5 – TAKE 35010) FLAC
1970 ♦ Egberto Gismonti — Sonho 70 (Philips – 838 290-2) FLAC
1972 ♦ Egberto Gismonti — Agua e Vinho (Vinyl, LP Odeon – SMOFB 3746) FLAC
1973 ♦ Egberto Gismonti — Arvore (1991, Carmo – 849 076-2) FLAC
1974 ♦ Egberto Gismonti — Academia de Dancas (1992, CARMO5 – 511 202-2) FLAC
1976 ♦ Egberto Gismonti — Corações Futuristas (EMI – 064 422828D) FLAC
1977 ♦ Egberto Gismonti — Carmo (2002, EMI – 542702 2) FLAC
1977 ♦ Egberto Gismonti — Danca das Cabeças (ECM 1089 – 422 827 750-2) FLAC
1977 ♦ Egberto Gismonti — Sol Do Meio-Dia (ECM 1161 – 829 117-2) FLAC
1978 ♦ Egberto Gismonti — Nó Caipira (1993, CARMO7  – 517 715-2) FLAC
1979 ♦ Egberto Gismonti — Ferreira Gullar • Antologia Poetica (2 LP, Som Livre – 411.6003) @Mp320K
1979 ♦ Egberto Gismonti • Naná Vasconcelos • Walter Smetak — Nova História da MPB (Vinyl 10'' Abril Cultural – HMPB-71) @Mp320K
1979 ♦ Egberto Gismonti — Solo (1985, ECM 1136 – 827 135-2) FLAC
1980 ♦ Charlie Haden • Jan Garbarek • Egberto Gismonti — Mágico (ECM Records – ECM 1151 – 823 474-2) FLAC
1980 ♦ Egberto Gismonti — O País Das Águas Luminosas ... (Vinyl, Soma – 409.6039) @Mp320K
1980 ♦ Egberto Gismonti • Francis Hime — Passeio no Bosque Encantando (Vinyl, Soma – 409.6038) @Mp320K
1980 ♦ Egberto Gismonti — Circense (1988, EMI – 364 791373 2) FLAC
1980 ♦ Egberto Gismonti — Jorge Amado (Guia das Ruas e dos Mistérios da Cidade do Salvador da Bahia) @Mp320K
1981 ♦ Egberto Gismonti — En Familia (2012, Bomba Records – BOM24195) FLAC
1981 ♦ Charlie Haden • Jan Garbarek • Egberto Gismonti — Folk Songs (1985, ECM 1170 – 827 705-2) FLAC
1981 ♦ Egberto Gismonti — Sanfona (2CD, ECM 1203-04 – 829 391-2) APE
1982 ♦ Egberto Gismonti — Fantasia (EMI-Odeon LP BIC 064 422 915) @Mp320K
1982 ♦ Egberto Gismonti — Sonhos de Castro Alves (Vinyl, LP EMI-Odeon Brasil – SPR 1794) @Mp320K
1992 ♦ Egberto Gismonti • Astor Piazzolla • Fito Páez — El Viaje (OST, Milan – 262 579) @Mp320K
1983 ♦ Egberto Gismonti — Cidade Coração (Vinyl, EMI – 31C 064 422929) @Mp320K
1984 ♦ Egberto Gismonti — Coração da Cidade (2012, Bomba Records – BOM24194) FLAC
1984 ♦ Nando Carneiro • André Geraissati • Beth Goulart • Egberto Gismonti — Violão (1992, CARMO3 – 849 212-2) FLAC
1984 ♦ Egberto Gismonti • Naná Vasconcelos — Duas Vozes (ECM 1279 – 823 640-2) FLAC
1984 ♦ Egberto Gismonti — Works (ECM Records – 78118-20269-2) FLAC
1984 ♦ Egberto Gismonti — Antologia Poética de João Cabral de Melo Neto (2 Vinyl, Som Livre – 444.6001) @Mp320K
1985 ♦ Egberto Gismonti — Trem Caipira (1987, EMI – 364 748145 2) FLAC
1987 ♦ Egberto Gismonti — Alma (1996, CARMO10 – 529 123-2) FLAC
1988 ♦ Egberto Gismonti — Feixe de Luz (EMI-Odeon – 066 790495-1) @FLAC
1988 ♦ Egberto Gismonti — O Pagador de Promessas (Vinyl, LP Globo Discos – 402.0007) @Mp320K
1989 ♦ Egberto Gismonti — Danca dos Escravos (ECM 1387 – 837 753-2) FLAC
1989 ♦ Egberto Gismonti — Kuarup (1991, CARMO4 – 843 199-2) FLAC
1990 ♦ Egberto Gismonti • Naná Vasconcelos — Jazzbuhne Berlin 84 Vol. 6 (Repertoire Records – RR 4906-CC) FLAC
1991 ♦ Egberto Gismonti — New Tango, Brazilian Touch (Milan – 74321 50240-2) @Mp320K
1991 ♦ Egberto Gismonti — Amazônia (1993, CARMO9 – 517 716-2) FLAC
1991 ♦ Egberto Gismonti — Infância (ECM 1428 – 847 889-2) FLAC
1992 ♦ Egberto Gismonti — Casa das Andorinhas (EMI – 780290 2) FLAC
1992 • Trem Caipira [FLAC]
1993 ♦ Egberto Gismonti — Musica de Sobrevivencia (ECM 1509 – 519 706-2) FLAC
1996 ♦ Egberto Gismonti • André Geraissati — Música Viva (Tom Brasil – TB0C5) @FLAC
1996 ♦ Egberto Gismonti — Zigzag (ECM 1582 – 529 349-2) APE
1997 ♦ Egberto Gismonti — Meeting Point (ECM 1586 – 533 681-2) FLAC
2001 ♦ Charlie Haden • Egberto Gismonti — In Montreal (ECM 1746 – 543 813-2) FLAC
2004 ♦ Egberto Gismonti — Selected Recordings (Rarum XI) (ECM Records – B0001798-02) FLAC
2009 ♦ Egberto Gismonti — Saudações (2CD, ECM Records – ECM 2082-83) FLAC
2012 ♦ Jan Garbarek • Egberto Gismonti • Charlie Haden — Magico, Carta de Amor (2CD, ECM 2280-81 – 278 9004) FLAC

BERNARD WYSTRAËTE & GRUPO - Strawa no Sertão (2005) Mp3

Tracklist:
1 Sanfona 4:48
Piano, Guest [Guest Artist] – Egberto Gismonti
Strawa No Sertão
2 1st Movement - Maxixe 1:47
3 2nd Movement - Bumba Meu Boi 3:38
4 3rd Movement - Choro & Baião 6:32
5 4th Movement - Forrò 0:58
6 5th Movement - Cherubin I 2:52
7 O Amor Que Move O Sol E Outras Estrelas 6:22
Piano, Guest [Guest Artist] – Egberto Gismonti
8 Karatê 1:41
9 Bodas De Prata 5:50
Piano, Guest [Guest Artist] – Egberto Gismonti
10 Baião Malandro 5:12
11 Cherubin II 5:54
12 Maracatu 3:57
Piano, Guest [Guest Artist] – Egberto Gismonti
Credits:
Accordion – Frédéric Guérouet (tracks: 1, 3 to 6, 8 to 10, 12)
Arranged By – Egberto Gismonti (tracks: 2 to 6)
Arranged By [Based On Egberto Gismonti's Piano Interpretation] – Bernard Wystraëte (tracks: 1, 7, 9, 10, 12)
Cello – Pierre Strauch (tracks: 2 to 6, 8, 10)
Co-producer – Egberto Gismonti
Composed By – Egberto Gismonti
Ensemble – Bernard Wystraëte Group
Flute [Flutes], Directed By [Musical And Artistic Direction] – Bernard Wystraëte
Guitar – Jean-Yves Casala (tracks: 2, 4 to 6, 8)
Piano – Véronique Briel (tracks: 3 to 6, 10)
Soprano Clarinet [B♭ Clarinet] – Philippe Berrod (tracks: 2 to 6, 8, 10)
Vibraphone – Philippe Macé (tracks: 3 to 5, 10)

EGBERTO GISMONTI - Saudações (2009) 2CD / FLAC (tracks+.cue), lossless

Composer, guitarist, and pianist Egberto Gismonti is one of the less celebrated but most interesting products of Brazil's progressive scene in the late '60s and early '70s. His music has been classified as rock, pop, jazz, and classical music, sometimes for the same album in different releases. The orchestral work on the first disc of this two-disc set tends toward the classical side, and it displays Gismonti's skills as an orchestrator. Those skills came down from Ravel through a French tradition represented by, among others, Nadia Boulanger, who had Gismonti as one of her later students. Hear the masterful use of the strings as percussive scrapers in the first of the seven movements of the attractively titled Sertões Veredas -- Tributo à Miscigenação, meaning Backroads Paths -- Tribute to Miscegenation. As the title implies, the music is something of a chamber-orchestra survey of Brazilian popular traditions, beginning where Villa-Lobos left off. Each movement is in three more or less well-defined sections, and Gismonti covers a lot of ground in his wanderings, giving the music a kaleidoscopic feel. It is all so concise and closely tied together, however, that it never feels like a fantasy. It's a crowd-pleasing yet rigorous piece of national music that could fit on any of the Latin-flavored orchestral programs that have become popular in both North America and Europe. Indeed, the performance by Cuba's all-female Camerata Romeu under director Zenaida Romeu leaves room for other versions; the group naturally plays with strong awareness of the rhythmic bases of Gismonti's writing, but the strings are at times less than sparkling. The Duetos de Violões or guitar duets on the second disc are performed by Gismonti and his son Alexandre. They would seem to fall more on the jazz side of the spectrum, but are often more dissonant harmonically than the seven Sertões Veredas. Recommended for anyone interested in the fertile and genre-crossing South American scene. by James Manheim 
Tracklist - Disc 1
1 Sertões Veredas: Tributo à Miscigenação (Tribute to Miscegenation) I 13:31
Egberto Gismonti feat: Camerata Romeu / Zenaida Romeu
2 Sertões Veredas: Tributo à Miscigenação (Tribute to Miscegenation) II 12:35
Egberto Gismonti feat: Camerata Romeu / Zenaida Romeu
3 Sertões Veredas: Tributo à Miscigenação (Tribute to Miscegenation) III 9:04
Egberto Gismonti feat: Camerata Romeu / Zenaida Romeu
4 Sertões Veredas: Tributo à Miscigenação (Tribute to Miscegenation) IV 10:46
Egberto Gismonti feat: Camerata Romeu / Zenaida Romeu
5 Sertões Veredas: Tributo à Miscigenação (Tribute to Miscegenation) V 10:44
Egberto Gismonti feat: Camerata Romeu / Zenaida Romeu
6 Sertões Veredas: Tributo à Miscigenação (Tribute to Miscegenation) VI 9:56
Egberto Gismonti feat: Camerata Romeu / Zenaida Romeu 
7  Sertões Veredas: Tributo à Miscigenação (Tribute to Miscegenation) VII 8:56
         - Palhaço na Caravela
Geraldo Carneiro / Egberto Gismonti
Tracklist - Disc 2
1 Duetos de Violões (Guitar Duets): Lundú 4:03
Egberto Gismonti feat: Alexandre Gismonti
2 Duetos de Violões (Guitar Duets): Mestiço & Caboclo 13:05
Egberto Gismonti feat: Alexandre Gismonti
3 Duetos de Violões (Guitar Duets): Dois Violões 5:18
Egberto Gismonti feat: Alexandre Gismonti
4 Duetos de Violões (Guitar Duets): Palhaço 6:53
Geraldo Carneiro / Egberto Gismonti
5 Duetos de Violões (Guitar Duets): Dança dos Escravos 8:14
Egberto Gismonti feat: Alexandre Gismonti
6 Duetos de Violões (Guitar Duets): Chora Antônio 6:20
Alexandre Gismonti
7 Duetos de Violões (Guitar Duets): Zig Zag 10:05
Egberto Gismonti feat: Alexandre Gismonti
8 Duetos de Violões (Guitar Duets): Carmen 4:56
Egberto Gismonti feat: Alexandre Gismonti
9 Duetos de Violões (Guitar Duets): Águas & Dança 6:33
Egberto Gismonti feat: Alexandre Gismonti
10 Duetos de Violões (Guitar Duets): Saudações 4:31
Egberto Gismonti / Paulo César Pinheiro
Credits
Arranged By – Alexandre Gismonti (tracks: 2-4, 2-6), Egberto Gismonti (tracks: 1-1 to 2-3, 2-5, 2-7 to 10), Sergio Assad (tracks: 2-4)
Cello – Caridad Rosa Varona Borges (tracks: 1-1 to 1-7), Maylin Sevila Brizuela (tracks: 1-1 to 1-7)
Composed By – Egberto Gismonti (tracks: 1-1 to 2-3, 2-5, 2-7 to 2-9)
Directed By [Artistic Director] – Egberto Gismonti
Directed By [Musical Director, Camerata Romeu], Conductor [Camerata Romeu] – Zenaida Romeu (tracks: 1-1 to 1-7)
Double Bass – Caridad Zaldivia Lores (tracks: 1-1 to 1-7)
Ensemble – Camerata Romeu (tracks: 1-1 to 1-7)
Guitar [Guitars] – Alexandre Gismonti (tracks: 2-1 to 2-10), Egberto Gismonti (tracks: 2-1 to 2-10)
Musical Assistance [Camerata Romeu's Assistant] – Sara Monzón Gonzáles (tracks: 1-1 to 1-7)
Viola – Aisel Álvarez Sevila (tracks: 1-1 to 1-7), Denia León Cedeño (tracks: 1-1 to 1-7), Jeisy León Molina (tracks: 1-1 to 1-7), Yuliena Fernández Nieves (tracks: 1-1 to 1-7)
Violin [First Violin] – Beatriz Vera Almeida (tracks: 1-1 to 1-7), Jenny Peña Campo (tracks: 1-1 to 1-7), Silvia Suárez Socarrás (tracks: 1-1 to 1-7), Yalira Machado Montejo (tracks: 1-1 to 1-7)
Violin [First Violin], Leader [First Violins] – Vanessa Moreno Llerena (tracks: 1-1 to 1-7)
Violin [Second Violin] – Indira González Oliva (tracks: 1-1 to 1-7), Kary Ann Dranguet (tracks: 1-1 to 1-7), Rayma Santana Aldama (tracks: 1-1 to 1-7), Yadira Cobo Rodríguez (tracks: 1-1 to 1-7)

EGBERTO GISMONTI / NANÁ VASCONCELOS - Duas Vozes (1985) FLAC (image+.cue), lossless

"Aquarela do Brasil," an unofficial anthem of Brazil, may have received literally thousands of different version and interpretations, but even then, Egberto and Brazilian percussionist Naná Vasconcelos (his sole accompanist here) were able to devise an extremely original version, which opens with an unassuming stylized samba introduction, slowly bringing elements which conduce the listener to the piece's identification. Egberto is very fond of percussive attacks and ethereal configurations, both acquiring superior importance in his music, not being necessarily attached to or supportive for a musical theme or melody. Therefore, the next defined melody presented (in the low strings of his 10 string violão) is at track six, "Bianca," which is a complex yet lyrical construction based in which seems a folkloric rhythm motif. Follows "Dom Quixote," another beautiful, lyrical, courageously simple theme delivered at the piano, with Naná's emulating of an African chant and his triangle playing in the forró tradition.  by Alvaro Neder
Tracklist
1 Aquarela Do Brasil   6:01
Ary Barroso / Egberto Gismonti
Arranged By – Gismonti, Vasconcelos
2 Rio de Janeiro   6:27
Egberto Gismonti
3 Tomarapeba  3:42
Arranged By – Vasconcelos
Composed By [Amazon Indian Song] – Traditional
4 Dancando  7:55
Egberto Gismonti
5 Fogueira  5:52
Egberto Gismonti
6 Bianca   6:41
Egberto Gismonti
7 Don Quixote  7:41
Composed By – Gismonti, G. E. Carneiro
8 O Dia, À Noite  3:52
Composed By – Vasconcelos
Credits
Guitar [Guitars], Piano, Flute [Flutes], Dilruba, Voice – Egberto Gismonti
Percussion, Berimbau, Voice – Nana Vasconcelos

EGBERTO GISMONTI - Kuarup (1989) FLAC (image+.cue), lossless

 Tracklist
1 Senhores Da Terra 4:42
2 Ossuário 1:56
3 Valsa De Francisca I 1:50
4 Anta 0:52
5 Urucum 2:19
6 A Força Da Floresta 3:43
7 A Dança Da Floresta 2:21
8 Aguas 2:23
9 Sônia 4:04
Cello, Soloist [Solo] – Jacques Morelenbaum
Voice, Soloist [Solo] – Dulce Bressane
10 A Morte Da Floresta 3:33
11 Valsa De Francisca II 3:30
12 O Som Da Floresta 2:40
13 Jogos Da Floresta#1 1:53
14 Jogos Da Floresta#2 1:43
15 Mutação 2:23
Credits
Bassoon – Aloysio Fagerlande
Cello – Alceu Reis, Márcio Mallard
Clarinet, Saxophone – Paulo Sérgio Dos Santos
Composed By – Egberto Gismonti
Conductor [Orchestra #1] – Jacques Morelenbaum
Conductor [Orchestra #2: "Transarmônica D'Alma D'Omrac"]
                 – Egberto Gismonti
Drums – Jurim Moreira
Flute – Celso Woltzenlogel
French Horn – Philip Doyle
Piano, Guitar, Flute [Bamboo Flute], Performer [Bambuzal], Soloist [Solos]
         – Egberto Gismonti
Trumpet – José Pinto
Viola – Fréderic Stephany, Marie Christine Bessler
Violin – Bernardo Bessler, Giancarlo Pareschi, José Alves, Michel Bessler

EGBERTO GISMONTI - Dança dos Escravos (1989) FLAC (image+.cue), lossless

When I first heard Egberto Gismonti’s Dança dos Escravos (Dance of the Slaves) it had been months since I’d listened to the Brazilian master, and the feeling of being wrapped in his brilliant passion again was a joy to say the least, for in his comforting embrace I can always far more than a gesture to relate to. Although he is an adept multi-instrumentalist, I’ve always felt that Gismonti excels alone at the guitar, and you will not likely find a purer distillation of his art than this. The 15-minute title track constitutes the album’s lungs, through which Gismonti respires in concise autobiographical detail. Upon waking, it hits the ground running, flipping space as if through the pages of a well-weathered book into which a photographic record has been pasted. The glue becomes brittle and flakes the farther one goes back, and though images have loosened their grip on the past Gismonti rescues them with every unexpected turn in his playing. There are moments when he seems to time-travel, his fingers working independently yet with an orchestral unity so personal that even when he adds a 12-string it seems but an extension of the same instrument.

“Dança dos Escravos” bears the subtitle “black,” and Gismonti has accordingly designated every track its own color. Red is represented by the enthralling opener, “2 Violões.” From jubilant to regretful, he cycles through a youth’s worth of faded dreams and unrequited loves. It is one of his best and in it we find the intimacies of his craft overflowing in full disclosure. Moving on to blue in “Lundu,” he plows through a cycle so engaging that he cannot help but let out an mm of ecstatic communion with his instrument. That same voice comes out more intentionally in the green (“Trenzinho do Caipira”) and in the white (“Salvador”), uncovering in both the playful spirit that lurks in the interstices of his memories. It is as if he were standing on the center of a seesaw, at one end of which is the weight of the future and at the other sits the child-self thereof. Gismonti pares his abstractions to their hearts, working them into the traditional yellow ornaments of “Alegrinho.” Here he shares a fleeting portrait of the streets (and of the trees not so far away). We encounter open markets and the patter of boys’ feet between stalls as they snatch fruits and life experience from the tables.

There is something indescribably authentic (whatever currency that word may have nowadays) about Gismonti’s music. Listen, for instance, to the burnished brown of “Memoria e Fado” and hear within it a thousand voices, each having fed into this one musical utterance and of which said utterance will one day become a part of the growing chorus to inspire those in the future. It is through this music that one steps outside into the night, looks up at the stars, and thinks not confoundedly, but rather forgoes philosophy, content in knowing that its mysteries are life itself. These are shadows made bright again. ecmreviews.com

Tracklist  

1 2 Violões (Vermelho) 5:58

2 Lundu (Azul) 6:29

3 Trenzinho Do Caipira (Verde) 7:18

Composed By – Heitor Villa-Lobos

4 Alegrinho (Amarelo) 3:44

5 Dança Dos Escravos (Preto) 14:59

6 Salvador (Branco) 4:45

7 Memoria E Fado (Marrom) 3:23

Companies, etc.

Recorded At – Rainbow Studio

Phonographic Copyright (p) – ECM Records GmbH

Copyright (c) – ECM Records GmbH

Credits

Composed By – Egberto Gismonti (tracks: 1, 2, 4 to 7)

Design [Cover Design] – Barbara Wojirsch

Guitar [Mitsuri Tamura (10 Strings)], Guitar [José Ramirez (14 Strings)], 

Twelve-String Guitar [Adams Jr. (12 Strings)], 

Guitar [Hopf -Contralto Guitar/6 Strings] – Egberto Gismonti

 

EGBERTO GISMONTI - Sol do Meio Dia (1977) FLAC (image+.cue), lossless

After his 1976 debut on ECM, the stunning Danca Das Cabecas with percussionist Naná Vasconcelos, Gismonti returned the following year with this impressive combo outing. Actually, the album consists of a mix of solo pieces and cuts with various partners, in both duo and trio formats. He penned all the material and shines throughout. The guest do the same, with special mention going to guitarist Ralph Towner, percussionist Colin Walcott, tenor saxophonist Jan Garbarek, and Vasconcelos. Highly recommended. by Stephen Cook
Tracklist  
1 Palácio De Pinturas / Construçao Da Aldeia 5:33
Guitar [12-string] – Ralph Towner
Guitar [8-string] – Egberto Gismonti
2 Raga / Festa Da Construção 8:49
Guitar [8-string] – Egberto Gismonti
Percussion – Nana Vasconcelos
Tabla – Collin Walcott
3 Kalimba / Lua Cheia 5:14
Berimbau, Percussion – Nana Vasconcelos
Kalimba, Flute [Wood], Voice – Egberto Gismonti
4 Coração / Saudade 5:57
Piano – Egberto Gismonti
5 Café 24:50
5.1 Procissão Do Espírito
Guitar [12-string] – Ralph Towner
Guitar [8-string], Voice – Egberto Gismonti
Soprano Saxophone – Jan Garbarek
5.2 Sapain / Sol Do Meio Dia
Flute [Wood], Voice, Other [Bottle] – Egberto Gismonti
Percussion, Voice, Other [Tama, Corpo, Bottle] – Nana Vasconcelos
Performer [Bottle] – Collin Walcott, Ralph Towner
5.3 Dança Solitária No. 2 / Voz Do Espírito
Guitar [8-string] – Egberto Gismonti
5.4 Baião Malandro / Fogo Na Mata / Mudança
Berimbau – Nana Vasconcelos
Piano – Egberto Gismonti
Credits
Composed By – Egberto Gismonti
Performer – Collin Walcott, Egberto Gismonti, Jan Garbarek, Nana Vasconcelos, Ralph Towner
Notes
"The music on this album is dedicated to Sapain and Xingu Indians, whose teachings were so important to me during the time I spent with them in the Amazon jungle, its color and mysteries; the sun, the moon, the rain and the winds, the river and the fish, the sky and the birds, but most of all the integration of musician, music and instrument into an undivided whole." (this text appears translated to portuguese)

EGBERTO GISMONTI - Coracões Futuristas (1976) FLAC (image+.cue), lossless

 Egberto Gismonti is world-renowned as a multi-instrumentalist and composer. He was profoundly influenced by Brazilian master Heitor Villa-Lobos, his works reflecting the musical diversity of Brazil. From the Amazon Indians' batuque to the Carioca samba and choro, through the Northeastern frevo, baião, and forró, Gismonti captures the true essence of the Brazilian soul in a way that is primitive, yet sophisticated, and reflects it through his personal vision, elaborated by years of classic training and literacy in a wealth of musical languages in which jazz plays a significant role.

Arvore From a musical family, in which his grandfather and his uncle Edgar were bandleaders, he started to take piano and theory classes at five. At that time, he also started to learn the flute and the clarinet, eventually taking the violão (acoustic guitar) in his teens. Following the piano classical tradition because of his father, he embraced the guitar to please his Italian mother, who was very fond of serenatas. Trying to transpose the piano's polyphonic quality for the guitar, he ended several years later with three custom-made instruments (ten-, 12-, and 14-stringed) and a personally developed two-hand technique. At eight, he started to study piano with Brazilian masters Jacques Klein and Aurélio Silveira for a 15-year apprenticeship. Establishing himself in Nova Friburgo, a small town near Rio, for one year and four months, he attended the Nova Friburgo Music Conservatory. Awarded with a scholarship to study classical music in Vienna, Austria, at 20, he refused it in order to delve deeper in the popular side. In October 1968, his composition "O Sonho," arranged by him for a 100-piece orchestra, was presented at the third International Song Festival (FIC), promoted by TV Globo, Rio, by the group Os Três Morais. This song, with its uncanny orchestration, provoked enthusiasm around and was recorded 18 different times by several international artists. Soon after in that year, he left Brazil for France, where he became the conductor and orchestrator for the French singer Marie Laforêt in an association that lasted for one and a half years. It was instrumental for him to meet and became a pupil of the great masters Jean Barraqué (1928-1973), a disciple of Anton Webern, and Nadia Boulanger (1887-1979), a former consultant to Ygor Stravinsky. The additional importance of these two icons upon Gismonti's career was to stress the unique richness of his country's background and urge him to pursue a singular expression rooted in the cabocla and mestiça tradition. This would cause him to return to Brazil in 1971. His first LP, Egberto Gismonti, was already released in 1969 through Elenco. There, he sang his own songs and had a partnership with the bossa nova composer Paulo Sérgio Vale. Also in 1969, he presented himself at the San Remo Festival in Italy. In 1970, he toured through Europe, recording two singles in France, one LP in Italy, one in Brazil (Sonho 70), and one LP in Germany (Orfeu Novo). His song "Mercador de Serpentes" was presented at the fifth FIC in 1970. Returning to Brazil in 1971, he settled in Teresópolis, another small town close to Rio. He played in several venues in Brazil and his music was included on the soundtracks of the movies A Penúltima Donzela (Fernando Amaral, 1969), Confissões de Frei Abóbora (Brás Chediak, 1971), and Em Família (Paulo Porto, 1971). In 1972, he recorded Água e Vinho (in partnership with poet Geraldo Carneiro) and in 1973, Egberto Gismonti and Adademia de Danças, all three LPs through EMI/Odeon, the latter of which was the turning point when he began to stress his instrumental work. After its recording, the producer said it made no sense at all. He received a note from EMI/Odeon saying that, due to Brazil's economic difficulties, that would be the last album of Gismonti's career: it was an album outside of any category, with 25-minute tracks, expensively produced with synths and orchestra. This album was awarded with the Golden Record in Brazil. From 1972 to 1991, he would record 19 albums for EMI/Odeon. In 1974, he accepted an invitation to play at a festival in Berlin, Germany, and asked Hermeto Pascoal and Naná Vasconcelos to join him in his presentation. He then met ECM's CEO, Manfred Eicher. Returning to Brazil, he received a letter from ECM in 1975, inviting him to record with them. Not knowing what would be the importance of that label, he postponed the response until the end of 1976. Then he accepted the invitation, imagining he'd record with the all-star Brazilian group he was performing with by then: drummer/percussionist Robertinho Silva, bassist Luis Alves, and saxophonist/flutist Nivaldo Ornelas. But the Brazilian military government had imposed a high fee for all leaving Brazilians at about 7,000 dollars. Being that cipher prohibitive for anyone in that group but him, he decided to record solo. Fearing that challenge, he was wandering through Norway when he met a Brazilian actor who was his friend. Invited to his home, he met Brazilian percussionist Naná Vasconcelos there. Having to record the album in three days, he decided to have Vasconcelos into it, and asked by him to describe the album's concept, he explained that both of them had a common history, and he proposed Vasconcelos use that album for telling it. It was the history of two boys wandering through a dense, humid forest, full of insects and animals, keeping a 180-feet distance from each other. He knew Vasconcelos would accept without hesitation, and he did. His LP Dança das Cabeças with Vasconcelos received several contradictory international awards reflecting Brazilian cultural richness: in England, it was awarded as a pop record; in the U.S., as folklore music; in Germany, as classical music. Either way, it changed both artists' lives: Vasconcelos immediately became a disputed international artist, touring worldwide; Gismonti returned to Brazil and decided to research Amazon folklore. In the heart of the Amazon forest, Alto Xingu, he tried to make contact with the Yawaiapitì tribe, playing his flute for two weeks until head chief Sapaim invited him to his home. They shared no common language other than music and Gismonti spent about a month living and learning with them, upon the condition of spreading the forest people's values. Two years later, with saxophonist Jan Garbarek, percussionist Colin Walcott, and guitarist Ralph Towner, he recorded Sol do Meio-Dia. His LP Solo, released that next year, sold 100,000 copies in the U.S. In 1981, with Garbarek and bassist Charlie Haden, he recorded the LP Magico. The same year, the trio toured Europe, including a concert at the Berlin Jazz Festival, and recorded a second Magico album, entitled Folksongs. In 1981, Gismonti again toured with Haden and Garbarek, performing throughout Europe. Also in that year, he recorded with his all-star group Academia de Danças (drummer Nenê, saxophonist/flutist Mauro Senise, and bassist Zeca Assunção) the double album Sanfona. With Vasconcelos, he recorded Duas Vozes in 1985. In 1989, he recorded Dança dos Escravos and in 1990, following the release of Dança das Cabeças, Gismonti toured the United States with his group, which included cellist Jaquinho Morelembaum, flutist/saxophonist Nivaldo Ornellas, and Edu Mello E Souza on keyboards. Also in 1990, he recorded Infância, accompanied by Nando Carneiro (guitar/keyboards), Zeca Assumpção (bass), and cellist Jaquinho Morelembaum. With the same group, he recorded in 1993 Música de Sobrevivência, an album inspired by the writings of the Brazilian poet Manoel de Barros, who reflects in his work the Brazilian duality of the cultivated Portuguese tradition and the massive illiteracy disseminated in that country, which, notwithstanding, deeply influences the official language. In 1995, he recorded with the State Symphonic Orchestra of Lithuania the CD Meeting Point. In 1996, Gismonti recorded with Nando Carneiro and Zeca Assumpção for the CD Zig Zag. As a businessman, he owns the successful label Carmo, which has several joint ventures with ECM. He also performed an almost impossible task: He bought the rights for all of his phonograms through EMI/Odeon for worldwide publishing, with the exception of Brazil. However, music continues to be his main focus. In 2009, Gismonti released the two-disc Saudacoes which featured one disc of his seven part composition, "Sertões Veredas -- Tributo à Miscigenação," and a second disc of guitar duets with his son Alexandre Gismonti. by Alvaro Neder

Tracklist
1 Dança Das Cabeças 8:29
2 Café 4:47
3 Carmo 4:45
4 Altura Do Sol 1:18
5 Polichinelo 1:35
6 Trem Noturno 7:22
7 Ano Zero 6:57
8 Baião Do Acordar 6:32

Credits
Cello – Alceu Almeida, Marcio Mallard, Peter Dauelsberg, Watson Clis
Choir – Joyce, Lizzie, Mauricio, Novelli
Conductor [Strings] – Mario Tavares
Double Bass – Luiz, Renato Sbragia
Drums, Percussion – Robertinho
Ensemble – Academia De Danças
Flute – Danilo, Mauro, Paulo
Saxophone, Flute – Nivaldo
Synthesizer [Arp Odissey Ii], Synthesizer [Arp Strings], Effects [Space Echo], Effects [Mutron Bi-phase], Piano [Acoustic Piano], Electric Piano [Rhodes 88], Guitar, Voice, Choir – Egberto
Trombone [Tenor Trombone] – Ed Maciel
Trumpet [Piston] – Darcy Da Cruz, Marcio Montarroyos
Viola – Arlindo Penteado, Stephany, Kiszely, Nelson Macedo
Violin – Chimanovitch, Vidal, Frautisek Bartik, Gentil Dias, Pareschi, Faini, José Lana, José Alves, Marcello, Ricardo Wagner, Roberto Arnaud, Piersanti, Virgilio Arraes, Walter Hack, Wilson Teodoro
Vocals [Free Vocals] – Aninha, Marya
Voice, Choir – Dulce

EGBERTO GISMONTI - Circense (1980-2002) FLAC (image+.cue), lossless

This excellent release by Egberto Gismonti was conceived under the concept of a circus, an institution that has the ambivalent quality of being at the same time universal and regional; the "circense" tradition exists in almost all parts of the globe, but it is enriched by the smaller companies that keep struggling to survive in poorer setups, adding regional elements to the whole. It fits like a glove for the music of Gismonti, which also aims to enrich Brazilian musical tradition with elements of worldwide classical and popular acquisitions.

The album is fully performed by excellent Brazilian musicians: Mauro Senise (saxes/flute), Egberto Gismonti (several instruments), Luiz Alves (bass), Robertinho Silva (percussion), Silvio Mehry (piano), Pery Reis (guitar), Aleuda Malu (vocals and percussion), Dulce Bressane (vocals), Pepê Castro-Neves (vocals), and a string orchestra conducted by Benito Juarez. On "Cego Aderaldo," a folkloric northeastern blind and nomadic guitar player is paid tribute to. which has only the Indian violinist Lakshminarayana Shankar and Gismonti on the Brazilian ten-string viola.

The most conspicuous composition of the album is, without a doubt, "Palhaço." Unpretentious in its conventional blues-like harmony, its passionate, touching melody progresses upon an apparently infinite harmonic cycle until an orchestrated modinha bridge comes in.

Tracklist:

1. Karate

2. Cego Aderaldo

3. Magico

4. Palhaco

5 .Ta Boa Santa

6. Equilibrista

7. Ciranda

8. Mais Que a Paixao

Personnel:

Egberto Gismonti: ten-string acoustic guitar, piano and vocals

Mauro Senise: saxophone and flute

Luiz Alves: bass

Robertinho Silva: percussion

Silvio Mehry: piano

Pery Reis: guitar

Aleuda Malu: vocals and percussion

Dulce Bressane: vocals

Pepe Castro-Neves: vocals

Benito Juarez: string orchestra conduction

Special guest:

Lakshminarayana Shankar: violin (in "Cego Aderaldo")

EGBERTO GISMONTI - Academia de Danças (1974) FLAC (image+.cue), lossless

Tracklist

Corações Futuristas

1. Palácio de Pinturas

2. Jardim de Prazeres

3. Celebração De Núpcias

4. A Porta Encantada

5. Scheherazade

Academia De Danças

6. Bodas de Prata

7. Quatro Cantos

8. Vila Rica 1720

9. Continuidade dos Parques

10. Conforme a Altura do Sol

11. Conforme a Altura da Lua

12. Polichinelo

13. Trem Noturno

14. Baião do Acordar

Personnel:

Egberto Gismonti: keyboards, guitar, indian flute, whistle, vocals

Roberto Silva: Drums

Luis Alves: bass

with

Nivaldo Ornelas: soprano sax [14]

Nivaldo Ornelas, Mauro Senise, Danilo Caymmi, Paulo Guimarães: flutes

Tenório, Jr.: electric piano [2]

Aninha and Mariya: free vocals [13]

Dulce Bressane: vocals

Darcy da Cruz: trumpet

Ed Maciel: Trombone

Marcio Montaroyos: lugelhorn

Joyce, Lizzie, Novelli and Mauricio Maestro: vocals [14]

JAN GARBAREK / EGBERTO GISMONTI / CHARLIE HADEN - Magico (Carta de Amor) 2012 / 2CD / FLAC (image+.cue), lossless

In 1979, ECM released Magico and Folk Songs, two gorgeous albums by the creative trio of saxophonist Jan Garbarek, guitarist/pianist Egberto Gismonti, and bassist Charlie Haden. Magico: Carta de Amor is a double-disc recorded live in 1981 in Munich which has been sitting in ECM's vaults until now. The recording features a seasoned band in full command of a shared musical language developed after an extended period touring together. It contrasts sharply with the work they issued as individual players during this era: Garbarek's Eventyr in 1980 and Paths and Prints in 1981, Gismonti's Frevo (1980), and Sanfona and En Familia (1981), and Haden's collaborations with Old and New Dreams, Ornette Coleman, and Pat Metheny. The material here features five iconic Gismonti compositions -- yet only "Palhaço" appears on this trio's studio albums. Haden’s 16-minute "La Pasionaria," a number closely associated with his Liberation Music Orchestra, is presented in a glorious trio version. It features intense, forceful playing by Garbarek which contrasts with Gismonti's spacious guitar playing. Garbarek's own "Spor," which also appeared on the trio's studio album Magico, is presented as a more elliptical group improvisation here. Haden's high-pitched bowing adds a tinge of the otherworldly, while Garbarek's voice is simultaneously emotive and icy. Gismonti's pianism is given an ample showcase on "Palhaço" and Haden's "All That Is Beautiful," the latter with lovely, ethereal soprano work from Garbarek. The bassist's "Two Folk Songs" is given an urgent, dark-tinged, exotic treatment thanks in no small part to Gismonti's virtuoso 12-string playing and Haden's elegant yet propulsive push at the melody articulated by Garbarek's soprano. It differs considerably from the version he presented on Metheny's 80/81. "Folk Song," from the trio's Folk Songs album, is a group improvisation based on a traditional hymn, but moves far afield with startling guitar effects and soprano soloing. Like Keith Jarrett's Sleeper, a live quartet date from 1979 that also saw the light of day from ECM in 2012, Magico: Carta de Amor is a musical treasure trove that features three players from three continents working in near-symbiotic dialogue, offering music that showcases compositional and improvisational mastery, yet transcends the limitations of genre classification. by Thom Jurek  

Tracklist 1 :

1. Carta de Amor 7:25

Egberto Gismonti

2. La Pasionaria 16:26

Charlie Haden

3. Cego Aderaldo 9:50

Egberto Gismonti

4. Folk Song 8:09

Traditional

5. Don Quixote 8:25

Egberto Gismonti

6. Spor 14:01

Jan Garbarek

Tracklist 2 :

1. Branquinho 7:37

Egberto Gismonti

2. All That Is Beautiful 15:35

Charlie Haden

3. Palhaço 9:12

Egberto Gismonti

4. Two Folk Songs 3:39

Traditional

5. Carta de Amor, var. 7:35

Egberto Gismonti

Recorded Live April 1981, Amerikahaus, München

Musicians

Jan Garbarek - tenor and soprano saxophones

Egberto Gismonti - guitars, piano

Charlie Haden - double-bass