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I've been listenimg this guy for so many years and never get tired of his music. This CD I like specially so much, mosto by the guitar played with fantastic expertise. it worth the tocket.
One of the most staggeringly beautiful recordings evermade on this planet. So very beautiful.This is NOT new age George Winston. Whata fantastic artist and composer Gismonti is. A classic ECMmasterpiece from the 70's. It's a rewarding experience for serious open mindsand ears. I first bought the lp when I was in college and spent MANY afternoons and nightsin blissful relaxation listening to this haunting workof art. Very, very deep. FAR from it.
Gismonti is not only an incredible guitarist(the first half and final section prove that), but heis an awesome pianist as well. His composition "Tango"in the second half with him on solo piano is breathtaking.You close your eyes and just dream. Check thisout. A trillion stars.
Alone or in the context of his whole work, this recording expresses one of the most original musical minds of this centuries (XX and XXI). As you hear to this music, you will enjoy one of the most singular and beautiful musical experiences one can ever have. Egberto Gismontis' sincerity, and his sense of touch, rhythm and musical spirit goes far beyond any standard, and reaches a realm of freedom and beauty that truly enhances our cultural condition, remaining as "a thing of beauty", sublime and lasting forever. So, take your time, make sure nothing will brake your listening, and do enjoy this musical rite as a true ascension to the heights of beauty.
It is mostly acoustic work with many Gismonti's vocals too. The music move towards more classical style: very polite, distinctive, fluid and elegant. It is somewhat more civilized and more easy to access. Most of these albums are under ECM or CARMO labels.About DANCA DAS CABECAS, it is a great album which retains all the provocative (but fantastic) style of 70's Gismonti, but with a more refined approach annoucing his work of the 80's. Most of this earlier work is under EMI or lately reissued under Gimsonti's CARMO labels.The 80's are a transition period from pure acoustic to a mix between acoustic and electric instruments; Gismonti's vocals tend to disapear. Typically, the music becomes less provocative and more polite than earlier Gismonti's work. Gismonti has been amazingly prolific in making many great albums from early 70's up to mid 90's.Typically, his music is somewhat "rough" but very powerfull, emotive, rich, risky and bold during all the 70's. They tend to have more electronic effects but they stay into the elegant distinctive spirit of Gismonti's group latest compositions.
This album takes a lot of inspiration from amazonian sounds; it is as mysterious as Amazonia forest can be. Yet, there is still this amazing creativity, complexity and freshness of all Gismonti's works.A few movie music albums are part of this period too (Kuarup, Amazonia). A true invitation to musical exploration. surprise. It is a little difficult to access because of the complexity; but once you are in, it will stay with you forever. Gismonti's vocals are gone in this album (like most 80's albums); it is purely instrumental.
Yet, the music remains highly sophisticated and creative; but with little less (good or bad). Lots of these albums are under ECM label.The 90's are a period where Gismonti's Group was founded. This album keeps the full magic of earlier Gismonti's style: a paradoxal music that always stands in an unstable and unpredictable position between violent rage and fragil delicacy. Highly recommended.Please, check my other reviews of Gismonti's albums if you wish.
It was to be a "solo" album at first. In my case, Egberto's music was a window that brought light and fresh air in the middle of the terror and concentration camps of Argentina in the 70's.I remember saving money, week after week, in order to be able to get these early ECM recordings, as well as the imports from the brazilian labels.In one of his presentations in Buenos Aires during this horrible period, Egberto was denied the use of the Steinway piano at the concert hall, since according to the theater officials, he wasn't a "classical pianist". This is the sort of music that stays with you for the rest of your life. But the meeting proved to be a blessing. Thank God, an even better, German-made Steinway was produced before the concert started.In the process, Egberto was kind enough to give these bureaucrats a little lesson in the fine art of temperature and humidity control as it pertained to the preservation of the piano he was denied access to. Just a fine example of the kind of person Gismonti really is.Egberto meet Nana by chance, in Paris, as he was on his way to Oslo, for the recording of this music. These dear musicians made one of the most memorable recordings of music that I can think of, only hours after the first meet each other.I always have the same dream at night: Egberto and Astor Piazzolla, side by side, sitting in front of a very long music score, making revisions, composing, giving us some of the most memorable and lasting bodies of music ever. They have indeed done just that, each in their own particular way, and we are better human beings, thanks to them.
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