Egberto Gismonti - Orfeo Novo (1970)

Artista: Egberto Gismonti

Álbum: Orfeo Novo
Año: 1970
Género: Latin Jazz
Duración: 37:22
Nacionalidad: Brasil

Lista de Temas:
1. Indi (Arnaldo Medeiros - Egberto Gismonti)
2. O Sonho (Egberto Gismonti)
3. Parque Laje (Egberto Gismonti)
4. Salvador (Egberto Gismonti)
5. Three Portraits For Guitar And Flute (Egberto Gismonti)
a. Retratos 1
b. Retratos 2
c. Retratos 3
6. Consolaçao, Berimbau (Baden Powell - Vinicius de Moraes)
7. Lendas (Egberto Gismonti - Paulinho Tapajós)

Alineación:
- Egberto Gismonti / Guitar, Piano, Vocal
- Dulce Nunes / Vocal
- Bernard Wystraete / Flute
- J.F. Jenny-Clark / Bass

Ayer presentamos varios discos de los suecos Anekdoten, todo un festival de puro rock progresivo. Hoy les voy a traer varios discos de este extraterrestre brasilero, trabajos de la primera época de este genio al que se lo termina definiendo como de estilo "Latin Jazz" porque no se sabe qué decir, ya que estética abarca muchos géneros.

En 1970, este extraterrestre hizo una turné por Europa, grabó dos sencillos en Francia, un LP en Italia, otro en Brasil, "Sonho 70", y un LP más en Alemania, este "Orfeu Novo" que presentamos ahora.
Las composiciones y arreglos, escritos com una precisión erudita pero que resuenan a través de la vivaz ejecución de la música popular es un eterno diálogo entre la flauta, la viola, el bajo, el piano y la voz, en una estructura armónica moderna de un ritmo envolvente y etéreo, que acaba haciendo que la falta de instrumentos de percusión no sean echados de menos.
Sobre los discos que voy a traer hoy, no voy a escribir demasiado, ni falta que hace, es un genio haciendo música de la mejor, sea del estilo que sea.

1) Themes:'O SONHO' and 'PARQUE LAJE', - 'O Sonho' (with 'Computador') remains Gismonti's most well-known piece. In the States Henry Mancini produced it, and Gismonti himself had recorded it two times, yet to me this new version is an even better one: the introduction for once is a thing apart amazing by its rhythmical flexibility and by its sensuality. You are hooked on the spot and a high-voltage expectation is kept on to the end. Do note the ambitious improvisations by Gismonti on piano and by Jean François Jenny-Clark on bass, moreover the beautiful flute by Bernard Wystraete and the delicate lyricisms by Dulce Nunes, Gismonti's wife
2) Two pieces inspired by oriental music: "INDI" and "LENDAS". Egberto - of Libanus descent by his father, of Italian one by his mother - always had shown interest in Arabic and in oriental music. So there is no exotic waist nor a modish inclination about it, but an honest occupation which is leading the composer up to the frontiers of contemporary chamber music. The oriental melisms are intended and in their turn contribute to a mysterious and bewitching mood. very impressive is the dense musical structure of "Indi": it cannot be classified and, as to me, it will reach the different tastes: the addicts of contemporary music, of jazz, of a certain pop music, and also those of the finest forms of Brazilian music.
3) Two pieces more directly influenced by Brazilian pop music (especially from the Bahia region): 'SALVADOR' given by a trio and 'CONSOLAçÃO-BERIMBAU', the latter built on the juxtaposition of two themes by Baden Powell, composer whom Gismonti admires very much.
4) Finally 'RETRATOS' - a composition in three parts, re-written for guitar and flute. The first part is inspired by the rhythm of a Brazilian dance, the 'choro'. The second is a Brazilian waltz in 3/4 and 12/8 successively. And the third, the freest part leans upon the Bossa Nova. Here, though, you have once again a very elaborate piece, the affinity of which remains well-nigh decernable to popular music.
The seven takes of this record had their difficulties in the fact that they were recorded without drums. For that reason a line for the bass and a harmonical structure for piano and guitar had to be written out, strong enough to do for the drums. Gismonti succeeded in it to a degree - and even better than he dared to hope for himself - that made him think of entirely dismissing the drums in the future. We have to add, however, that in this case he was admirably served with the great musical ability of Jean François Jenny-Clark, prize-winner of the conservatory of Paris and today France's best bassist asked for equally by the great contemporary composers (Boulez, Berio, Stockhausen) and by the most advanced and demanding jazzmen. We also have to stress the abilities of a flautist like Bernard Wystraete, winner of a first prize of Paris' conservatory, too, and we have to point ou Dulce Nunes' sensibility, fitting admirably into the genre."

Gerarld Mercer

A superb slice of latin-fusion vibrating with the classical currents of the conservatory. Gismonti's virtuosic guitar(piano) explorations give the tracks the frantic energy of jazz, while his companions even it out with tender, subtle showers of energy. The soprano voice of Dulce Nunes is especially notable, providing sensuality and lyricism of an angel in contrast to Gismonti's manly baritone voice that occasionally makes an appearance. While the flautist lends his craft to give the compositions wings to reach mellow ethereal peaks. Notice the dialogue between the guitar and flute in the middle section of the album, just fantastic. Surprisingly there's no percussion here, but the fiery dynamics of harmony by the bow player and Gismonti himself create deep and explosive rhythm disturbances that provide the necessary fluctuations.
A tantalizing display of virtuosity, diversity and innovation. An essential album for Latin-jazz enthusiasts.

glhrmdias

An acquired taste Egberto Gismonti undoubtedly is; once those initial hurdles have been navigated, a rich body of work fused from many sources appears, 1970's 'Orfeo Novo' although not quite his pinnacle most clearly a seminal moment. Working alongside the polite songbird-like Dulce Nunes, who's fragrant lyrical touches fall like Spring rain among the woodwinds, Gismonti is in his comfort zone. Compositions are mellow, reflective, of their time too; Bacharach, Brian Wilson et al had their collective ears pointing southwardly on constant replay between 1968 and 1971, with lush seasonal beauty 'Parque Laje' being top of their shopping list. A background that in those days would have been ironically regarded as snobbish (stones and glass houses) Egberto's devotion to his craft thus has the last laugh, the boorish nature of indulgence lighten in the latter stages of 'Orfeo Novo' when his perfect execution of each note justifies his mildly egotistical desires.

KildareJohn

Y así empezamos el festival de Egberto Gismonti del dìa de hoy, en un disco realmente brillante de un genio de la música.