The end of the military dictatorship in Brazil left the country lost in its references and opened way for a period of wild hedonism. Realce, one of Gilberto Gil's most disco-influenced albums, is a document of that period. Released in LP format in 1979, it had the disco ideology expressed in several songs like "Realce" (which became slang for a dangerous drug frequently consumed in those places), "Sarara Miolo" (also a danceable tune, finds room for social criticism through black pride, where Gil reproaches the use of straightening and discoloring of hair by his brothers and sisters), "Marina" (featuring Dorival Caymmi), and "Toda Menina Baiana" (a hybrid of disco and Bahian samba).
This is undoubtedly the equivalent of Gilberto Gil "Unplugged" – Gil, his acoustic guitar, and a nonelectric five-piece band recorded live in a studio – and it is a thoroughly musical triumph as Gil mesmerizes his attentive audience for some 74 minutes. He starts out with the nearly pure reggae of "A Novidade," but before long, he establishes himself in a mostly consistent, loping set of intimate grooves thoroughly rooted in Brazil. Gil had a hand in writing all of this tuneful material except Anastacia Dominguinhos' "Tenho Sede," Caetano Veloso's "Sampa," and a left-field choice, Stevie Wonder's "The Secret Life of Plants," which lends itself very well to Gil's bossa nova approach and proenvironmental position. It is not a complete live portrait of Gil, though; the astounding quickness and flexibility of his voice is fully vented only toward the end of the concert. The later Quanta Live album will give you a wider panorama of Gil's range.
To lovers of Brazilian jazz, the pairing of these two legends of the genre amounts to something of a musical orgasm. The only serious misfire isn't really that bad, just a bit incongruous. Why would two consummate Brazilian ambassadors choose to do their one English lyric song – George Harrison's "Something" – as a reggae tune? The groove is silly, but actually some of the guitar work is fun. Just as when Ivan Lins sings in his native Portuguese rather than stilted English, this tandem is most at home conveying emotions that go beyond simple semantics, usually with Gil writing the music and Nascimento the lyrics. "Sebastian" is a moody bass-and-drum driven power ballad which functions as a showcase to their raspy vocals.
Gil Sharone’s “Wicked Beats” is a complete guide to the Jamaican drumming styles of Ska, Rocksteady and Reggae. Gil Sharone takes you on a musical journey through these styles and explores some of the earlier styles that helped shape them including African Nyabingi and Burru drumming.
Composer/arranger Maria Schneider and her 18-piece orchestra perform a variety of advanced and difficult music on this CD. The centerpiece of the set is her three-part "Scenes from Childhood" which deals with fear, confusion and grudging acceptance; do not look here for any childlike melodies or playfulness. In addition the big band plays a reworked version of "Giant Steps," the "Love Theme from Spartacus," the Spanish-flavored "El Viento" (which is slightly reminiscent of Gil Evans's writing for Sketches of Spain) and "Waxwings."
ALLEGRESSE was nominated for the 2001 Grammy Award for Best Large Jazz Ensemble Album.
Similar in nature to the lush, orchestral jazz work of J.J. Johnson and Gil Evans, Schneider here conducts a large group in a suite of detailed and neo-classical pieces. By turns sentimental ("Nocturne") and carefree ("Hang Gliding"), it is a largely satisfying effort.
In his latest work Fé na Festa, Gilberto Gil returns to his roots to celebrate the São João festival, a celebration, which fills northeastern calendars with a week of wall to wall forró in the month of June (more on forró music can be found here). In Brazil this is the end of the rainy season, as well as the corn harvest; the perfect time to celebrate. The title track instantly grabs you with its racy guitars, violins and steady percussion. The easy to follow chorus invites group participation in the best traditions of a Brazilian lual and warms up the uninitiated for the forró that is to follow…Towards the end of the album Gilberto returns to our forró education. “Aprendi com o Rei” brings back a more danceable forró beat and provides a useful intro to the musical form (if you can keep up whilst dancing). “Dança da Moda”, a cover of forró legend Luiz Gonzaga, is a true return to form.
Traditional big band arranging focuses on give and take between sections - trumpets, trombones and reeds - with rhythm support. Spiced with counterpoint and polyrhythms, this approach still produces some very exciting music. That's not where Maria Schneider is at. She cuts across sections and emphasizes ensemble color and sound, a way pioneered by Ellington, and developed by her mentor, Gil Evans. In liner notes as moving as her music, Schneider describes her starting point. "…I cast out a few exploratory tones in search of meaningful sound. Given a little gestation time, the seeds of each piece started to pop, revealing something very personal. I found myself either on a journey back in time or deep inside myself, the music exposing even more than I'd consciously felt from any of the actual experiences. The experiences transmuted into sound…".
Welcome to Gil's All Night Diner, where zombie attacks are a regular occurrence and you never know what might be lurking in the freezer….
Duke and Earl are just passing through Rockwood county in their pick-up truck when they stop at the Diner for a quick bite to eat. They aren't planning to stick around-until Loretta, the eatery's owner, offers them $100 to take care of her zombie problem. Given that Duke is a werewolf and Earl's a vampire, this looks right up their alley. But the shambling dead are just the tip of a particularly spiky iceberg.