Apr 12, 2016

RhoDeo 1615 Roots

Hello, we'll be staying in Brazil until the Olympics there's plenty of time to explore the it's music scene. The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.


Today for the fourth and final time, an artist who fused samba, salsa, and bossa nova with rock and folk music, he's recognized today as one of the pioneers in world music. A multi-instrumentalist and singer/songwriter, Gil joined his first group, the Desafinados, in the mid-'50s and by the beginning of the 1960s was earning a living as a jingle composer. Although known mostly as a guitarist, he also holds his own with drums, trumpet, and accordion.. .....N'Joy

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continued from last week

When he went back to Bahia in 1972, Gil focused on his musical career and environmental advocacy work.[18] He released Expresso 2222 the same year, from which two popular singles were released. Gil toured the United States and recorded an English-language album as well, continuing to release a steady stream of albums throughout the 1970s, including Realce and Refazenda. In the early 1970s Gil participated in a resurgence of the Afro-Brazilian afoxé tradition in Carnaval, joining the Filhos de Gandhi (Sons of Gandhi) performance group which only allowed black Brazilians to join. Gil also recorded a song titled "Patuscada de Gandhi" written about the Filhos de Gandhi that appeared on his 1977 album Refavela. Greater attention was paid to afoxé groups in Carnaval because of the publicity that Gil had provided to them through his involvement; the groups increased in size as well. In the late 1970s he left Brazil for Africa and visited Senegal, Ivory Coast, and Nigeria. He also worked with Jimmy Cliff and released a cover of "No Woman, No Cry" with him in 1980, a number one hit that introduced reggae to Brazil.

In 1996, Gil contributed "Refazenda" to the AIDS-Benefit Album Red Hot + Rio produced by the Red Hot Organization. In 1998 the live version of his album Quanta won Gil the Grammy Award for Best World Music Album. In 2005 he won the Grammy Award for Best Contemporary World Music Album for Eletracústico. In May 2005 he was awarded the Polar Music Prize by Carl XVI Gustaf of Sweden in Stockholm, the prize's first Latin American recipient. On October 16 of the same year he received the Légion d'honneur from the French government, coinciding with the Année du Brésil en France (Brazil's Year in France).

In 2010 he released the album Fé Na Festa, a record devoted to forró, a style of music from Brazil's northeast. His tour to promote this album received some negative feedback from fans who were expecting to hear a set featuring his hits. In 2013, Gilberto Gil plays his own role as a singer and promoter of cultural diversity in a long feature documentary shot around the southern hemisphere by Swiss filmmaker Pierre-Yves Borgeaud, Viramundo: a musical journey with Gilberto Gil, distributed worldwide. The film also inaugurates the T.I.D.E. experiment for pan-European and multi-support releases.


Gil with former President of Brazil Luiz Inácio Lula da Silva

Gil describes his attitude towards politics thus: "I'd rather see my position in the government as that of an administrator or manager. But politics is a necessary ingredient." His political career began in 1987, when he was elected to a local post in Bahia and became the Salvador secretary of culture. In 1988, he was elected to the city council and subsequently became city commissioner for environmental protection. However, he left the office after one term and declined to run for the National Congress of Brazil. In 1990, Gil left the Brazilian Democratic Movement Party and joined the Green Party. During this period, Gil founded the environmental protection organization Onda Azul (Blue Wave), which worked to protect Brazilian waters. He maintained a full-time musical career at the same time, and withdrew temporarily from politics in 1992, following the release Parabolicamará, considered to be one of his most successful efforts. On October 16, 2001 Gil accepted his nomination to be a Goodwill Ambassador for the Food and Agriculture Organization (FAO) of the United Nations, having promoted the organization before his appointment.

When President Luiz Inácio Lula da Silva took office in January 2003, he chose Gil as Brazil's new Minister of Culture, only the second black person to serve in the country's cabinet. The appointment was controversial among political and artistic figures and the Brazilian press; a remark Gil made about difficulties with his salary received particular criticism. Gil is not a member of Lula's Workers' Party and did not participate in creating its cultural program. Shortly after becoming Minister, Gil began a partnership between Brazil and Creative Commons. As Minister, he has sponsored a program called Culture Points, which gives grants to provide music technology and education to people living in poor areas of the country's cities. Gil has since asserted that "You've now got young people who are becoming designers, who are making it into media and being used more and more by television and samba schools and revitalizing degraded neighborhoods. It's a different vision of the role of government, a new role." Gil has also expressed interest in a program that will establish an Internet repository of freely downloadable Brazilian music. Since Gil's appointment, the department's expenditures have increased by over 50 percent. In November 2007 Gil announced his intention to resign from his post due to a vocal cord polyp. Lula rejected Gil's first two attempts to resign, but accepted another request in July 2008. Lula said on this occasion that Gil was "going back to being a great artist, going back to giving priority to what is most important" to him.

Gil has been married four times. His fourth wife is Flora Nair Giordano Gil Moreira. The couple has five children, four of whom are still living. The fifth child – Pedro Gil, Egotrip's drummer – died in a car accident in 1990. Preta Gil, an actress and singer, is his daughter. Gil's religious beliefs have changed significantly over his lifetime. Originally, he was a Christian, but was later influenced by Eastern philosophy and religion, and, later still, explored African spirituality. He is now an agnostic. He practices yoga and is a vegetarian. Gil has been open about the fact that he has smoked marijuana for much of his life. He has said he believes "that drugs should be treated like pharmaceuticals, legalized, although under the same regulations and monitoring as medicines"

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Gilberto Gil's world tour in 1997 was a startling revelation for North American audiences who had not heard from him live in several years, if at all. Quanta Live was recorded in Rio not long before his appearance at the Hollywood Bowl -- and unlike the latter concert, which was strongly rooted in the samba, this CD more fully reflects Gil's role as a pioneer of Brazil's cosmopolitan "tropicalismo" music movement. The CD reveals Gil as a truly captivating performer, still in possession of a quicksilver voice with a beautiful falsetto, a staccato guitar style that makes his electric model sound like an acoustic, and strikingly original, even quirky tunes (including one, though sung in Portuguese, which is obviously about the Internet!). His tricky syncopated vocals and scatting must have been an inspiration for Al Jarreau, and his supple feeling for Brazilian rhythms, energy and quickness can be felt on this recording even without the visual element. Yet Gil and his band could also suddenly break into completely comfortable renditions of two Bob Marley songs ("Is This Love," "Stir It Up") in full reggae regalia. He doesn't need to do this, but it makes sense because Marley fits right into Gil's crusading, humanistic world view. In all, an outstanding addition to your world music shelf.



Gilberto Gil - Quanta Gente Veio Ver  (flac  577mb)

01 Introducão 2:34  
02 Palco 3:58
03 Is This Love 4:55
04 Stir It Up 4:42
05 Refavela 3:56
06 Vendedor de Caranguejo 4:08
07 Quanta 5:57
08 Estrela 4:45
09 Pela Internet 4:23
10 Cérebro Eletrônico 3:51
11 Opachorô 4:19
12 Copacabana 4:49
13 A Novidade 5:16
14 O Gandhi 3:42
15 De Ouro E Marfim 3:54
bonus cd
16 Doce De Carnaval (Candy All) 5:56
17 Lamento De Carnaval 4:54
18 Pretinha 4:25

Gilberto Gil - Quanta Gente Veio Ver    (ogg   211mb)

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Perhaps no one in the world outside Jamaica is better equipped to perform a Bob Marley tribute than Gilberto Gil. The two are very nearly equals; Gil meant as much to residents of Brazil as Marley did to Jamaicans -- even though popularity in Brazil means competing in a very crowded field. Gil is also an exact contemporary of Marley's (he is three years older, but began recording at the same time) and, like Marley, arrived at a distinctive sound only after years of working in the local vernacular. (For Marley it was ska and rocksteady, while for Gil it was bossa nova and samba.) He does owe a debt of gratitude to Bob Marley, however, for it was Marley's global stardom during the '70s that enabled Gil to begin making an impact overseas (especially in Africa). For Kaya N'Gan Daya, his second tribute album in two years (after the Luiz Gonzaga songbook Me, You, Them), Gil astonishingly supplants the formidable personality of Bob Marley and interprets his songs with a strength and vitality that would've found any of his contemporaries lacking. Though he traveled to Tuff Gong studios and worked with the seminal backing vocal group the I-Threes (including Marley's wife, Rita), Gil kept his own band, and they prove their resilience by never deserting their Brazilian focus. Bassist Arthur Maia has a command of the low frequencies that certainly evokes the rocksteady rhythms of reggae, but there isn't much else that sounds Jamaican, besides a sense of space and swing to the arrangements common to many South American forms. The only caveat to Kaya N'Gan Daya is Gil's inability to summon the rebel authority necessary for the classic protest songs "One Drop," "Them Belly Full (But We Hungry)," and "Rebel Music." He certainly makes up for it, though, on his versions of lighter material like "Positive Vibration," "Three Little Birds," and the title track (each of which could easily be a Gil composition). In the end, it's largely because Gilberto Gil and Bob Marley meet as equals that Gil is able to take on the difficult task of paying tribute to one of the most important artists of the 20th century.



Gilberto Gil - Kaya N'gan Daya (flac 441mb)

01 Buffalo Soldier 6:08
02 One Drop 5:03
03 Waiting In Vain 4:19
04 Table Tennis Table 4:30
05 Three Little Birds 3:09
06 Não Chore Mais (No Woman, No Cry) 4:36
07 Positive Vibration 4:26
08 Could You Be Loved 5:16
09 Kaya N'gan Daya (Kaya) 3:58
10 Rebel Music (3 O'Clock Road Block) 5:10
11 Them Belly Full (But We Hungry) 4:02
12 Tempo Só (Time Will Tell) 3:47
13 Easy Skankin' 3:50
14 Turn Your Lights Down Low 4:11
15 Eleve-Se Alto Ao Céu (Lively Up Yourself) 4:24
16 Lick Samba 3:12

Gilberto Gil - Kaya N'gan Daya  (ogg   170mb)

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Eletracústico is a live recording from Gilberto Gil's 2004 world tour of the same name. It is also the first album that Gil has released since he was named the culture minister of Brazil in 2002. There are already several live recordings with Gil on the market -- most of which have added very little, in terms of quality, to his rich album catalog. Typically, the live albums repeat the songs from his most recent studio album, together with some of Gil's older hits -- all with an inferior sound quality compared to the studio versions. Eletracústico, however, is different. Although it doesn't present any new compositions, it still has a vitality and crispness that make it the best live album Gil has released to date. Apart from nice versions of some of Gil's own hits, such as "Refavela," "Andar Com Fé," and "Aquele Abraço," there are fine interpretations of songs by other artists, such as John Lennon's "Imagine," Bob Marley's "Three Little Birds," and Chico Buarque's "A Rita." Gil's studio efforts are more often than not a bit too uneven to be entirely enjoyable, and Eletracústico therefore works especially well as a kind of "best-of" collection, recorded live.



Gilberto Gil - Eletracustico (flac 418mb)

01 Refavela 5:56
02 Andar Com Fé 4:19
03 Chuck Berry Fields Forever 4:40
04 Cambalache 4:52
05 Imagine 5:46
06 A Rita 3:15
07 A Linha E O Linho 5:16
08 Aquele Abraço 5:46
09 Maracatu Atômico 6:41
10 Se Eu Quiser Falar Com Deus 4:16
11 La Lune de Gorée 4:06
12 Three Little Birds 3:09
13 Guerra Santa 3:59
14 Soy Loco Por Ti America 7:38

Gilberto Gil - Eletracustico  (ogg   164mb)

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A 1977 sampler of rare and previously unreleased material, rereleased in 1998 as part of the Ensaio Geral Box, the artist at work without any pretence and here a nice way to close Gil postings, however he will show up elsewhere as the brazilian music scene intermingles a lot.



Gilberto Gil - Satisfação(Raras & Inéditas) (flac 320mb)

01 Ninguéem Segura Este Paãs 2:41
02 Satisfação 3:14
03 Sentimentos/Ladeira da Preguica 7:40
04 Ha, Ha, Ha 2:28
05 Tiu, Ru, Ru 2:52
06 A Bruxa de Mentira 3:18
07 Chuckberry Fields Forever 4:34
08 Sarará Miolo 3:31
09 E 3:31
10 Músico Simples 3:08
11 Sala Do Som 3:57
12 Brazil Very Happy Band 3:41
13 Tipo Africa 3:22
14 Oju Obá 3:43

Gilberto Gil - Satisfação(Raras & Inéditas)    (ogg   129mb)

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