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 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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Gil was born in Salvador, an industrial city in the northeast of Brazil, though he spent much of his childhood in nearby Ituaçu. Ituaçu was a small town of fewer than a thousand, located in the sertão, or countryside, of Bahia. His father, José Gil Moreira, was a doctor; his mother, Claudina Passos Gil Moreira, an elementary school teacher. As a young boy, he attended a Marist Brothers school. Gil remained in Ituaçu until he was nine years old, returning to Salvador for secondary school.
Gil's interest in music was precocious: "When I was only two or two and a half," he recalled, "I told my mother I was going to become a musician or a president of my country." He grew up listening to the forró music of his native northeast, and took an interest in the street performers of Salvador. Early on, he began to play the drums and the trumpet, through listening to Bob Nelson on the radio. Gil's mother was the "chief supporter" in his musical ambitions; she bought him an accordion and, when he was ten years old, sent him to music school in Salvador which he attended for four years As an accordionist, Gil first played classical music, but grew more interested in the folk and popular music of Brazil. He was particularly influenced by singer and accordion player Luiz Gonzaga; he began to sing and play the accordion in an emulation of Gonzaga's recordings. Gil has noted that he grew to identify with Gonzaga "because he sang about the world around [him], the world that [he] encountered."
During his years in Salvador, Gil also encountered the music of songwriter Dorival Caymmi, who he says represented to him the "beach-oriented" samba music of Salvador. Gonzaga and Caymmi were Gil's formative influences. While in Salvador, Gil was introduced to many other styles of music, including American big band jazz and tango. In 1950 Gil moved back to Salvador with his family. It was there, while still in high school, that he joined his first band, Os Desafinados (The Out of Tunes), in which he played accordion and vibraphone and sang. Os Desafinados was influenced by American rock and roll musicians like Elvis Presley, as well as singing groups from Rio de Janeiro. The band was active for two to three years. Soon afterwards, inspired by Brazilian star João Gilberto, he settled on the guitar as his primary instrument and began to play bossa nova
Gil met guitarist and singer Caetano Veloso at the Universidade Federal da Bahia (Federal University of Bahia) in 1963. The two immediately began collaborating and performing together, releasing a single and EP soon afterwards. Along with Maria Bethânia (Veloso's sister), Gal Costa, and Tom Zé, Gil and Veloso performed bossa nova and traditional Brazilian songs at the Vila Velha Theatre's opening night in July 1964, a show entitled Nós, por Exemplo (Us, for Example). Gil and the group continued to perform at the venue and he eventually became a musical director of the concert series. Gil collaborated again with members of this collective on the landmark 1968 album Tropicália: ou Panis et Circenses, whose style was influenced by The Beatles' Sgt. Pepper's Lonely Hearts Club Band, an album Gil listened to constantly. Gil describes Tropicália: ou Panis et Circenses as the birth of the tropicália movement. As Gil describes it, tropicália (or Tropicalismo) was a conflation of musical and cultural developments that had occurred in Brazil during the 1950s and 1960s—primarily bossa nova and the Jovem Guarda (Young Wave) collective—with rock and roll music from the United States and Europe, a movement deemed threatening by the Brazilian government of the time.
Early on in the 1960s, Gil earned income primarily from selling bananas in a shopping mall and composing jingles for television advertisements;[5] he was also briefly employed by the Brazilian division of Unilever, Gessy-Lever.[6] He moved to São Paulo in 1965 and had a hit single when his song "Louvação" (which later appeared on the album of the same name) was released by Elis Regina. However, his first hit as a solo artist was the 1969 song "Aquele Abraço".[5] Gil also performed in several television programs throughout the 1960s, which often included other "tropicalistas", members of the Tropicalismo movement
In February 1969 Gil and Veloso were arrested by the Brazilian military government, brought from São Paulo to Rio de Janeiro, and spent three months in prison and another four under house arrest, before being freed on the condition that they leave the country. Veloso was the first to be arrested; the police moved to Gil's home soon afterward. Veloso had directed his then-wife Andréa Gadelha to warn Gil about the possibility of arrest, but Gil was eventually brought into the police van along with Veloso. They were given no reason or charge for their arrest. Gil believes that the government felt his actions "represent[ed] a threat [to them], something new, something that can't quite be understood, something that doesn't fit into any of the clear compartments of existing cultural practices, and that won't do. That is dangerous." During his prison sentence, Gil began to meditate, follow a macrobiotic diet, and read about Eastern philosophy. He composed four songs during his imprisonment, among them "Cérebro Electrônico" (Electronic Brain), which first appeared on his 1969 album Gilberto Gil 1969, and later on his 2006 album Gil Luminoso. Thereafter, Gil and Veloso were exiled to London, England after being offered to leave Brazil. The two played a last Brazilian concert together in Salvador in July 1969, then left to Portugal, Paris, and finally London. He and Veloso took a house in Chelsea, sharing it with their manager and wives. Gil was involved in the organisation of the 1971 Glastonbury Free Festival and was exposed to reggae while living in London; he recalls listening to Bob Marley (whose songs he later covered), Jimmy Cliff, and Burning Spear. He was heavily influenced by and involved with the city's rock scene as well. However, he also performed solo, recording Gilberto Gil (Nêga) while in London. In addition to involvement in the reggae and rock scenes, Gil attended performances by jazz artists, including Miles Davis and Sun Ra. to be continued
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A great early 80s set from Gilberto Gil – and one that has him fully assuming the soul singer mode that would carry him strongly through the rest of the decade! There's still a samba soul sense of funk at the core, but the overall instrumentation is a bit fuller and more electric – a bit like the grooves Marcos Valle was using in the early 80s – a very nice hybrid of Brazilian roots and American soul – with traditional percussion moving alongside warmer keyboards and guitars. Production is by Liminha – and titles include "Banda Um", "Metafora", "Pula Caminha", "Deixar Voce", "Nossa", and "Andar Com Fe".
Gilberto Gil - Um Banda Um (flac 209mb)
01 Banda Um 4:38
02 Afoxé É 4:02
03 Metáfora 4:21
04 Deixar Você 4:45
05 Pula, Caminha 3:40
06 Andar Com Fé 3:20
07 Drão 3:17
08 Esotérico 4:22
09 Menina Do Sonho 4:53
10 Ê Menina 3:51
11 Nossa 2:46
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In the early '90s, in the middle of his mandate as councilman for Salvador, Gil was again concerned with the Afro roots of Brazilian people, and this album strongly reflects that. "Madalena" brings social criticism through Afro soca grooves. "Parabolicamará" builds a discourse about communications over a beautiful ponto de macumba melody with enriched harmonies. "Um Sonho" is a doleful toada about the lack of understanding of the popular soul by politicians and technocrats. "Buda Nagô" is a tribute to Dorival Caymmi in Afro-Bahian style, which features the guest singer Nana Caymmi (Dorival's daughter and Gil's former wife). "Serafim" brings Afro sounds together with a beautiful flamenco-influenced violão solo by Marco Pereira, suggesting the Moorish/Iberian influences received by Brazilian music. "Quero Ser Teu Funk" is the apology of funk in the modern setting of Rio. "Yá Olokun" brings more Afro inspirations, and "O Fim da História" uses again the ponto de macumba style to defend the mistaken post-modernist theory of the end of history. The soulful traditional values of northeastern community are celebrated in the beautiful baião "De Onde Vem O Baião." "Falso Toureiro" is a curious mix of northeastern forró and Afro-beat. "Sina" brings the beautiful reggae by Djavan in a subtler version which was included in the TV series Confissões De Uma Adolescente.
Gilberto Gil - Parabolicamará (flac 308mb)
01 Madalena (Into A Dead End And Out Again) (Entra Em Beco, Sai Em Beco) 3:59
02 Parabolicamará 4:27
03 A Dream (Um Sonho) 4:47
04 Nagô Buddha (Buda Nagô) 3:28
05 Serafim 3:49
06 I Wanna Be You Funk (Quero Ser Teu Funk) 5:57
07 Snow In Bahia (Neve Na Bahia) 3:39
08 Yá Olokun 3:41
09 The End Of History (O Fim Da História) 3:18
10 Where The Baião Comes From (De Onde Vem O Baião) 3:11
11 Phony Bullfighter (Falso Toureiro) 3:28
12 Fate (Sina) 3:55
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Afoxé (pronounced ah-fo-SHAY), much like the music Ernie Watts, Gilberto Gil and their friends have created here and in Brazil itself, is the sum of striking contradictions.
In Bahia, the vast coastal state known as the heartland of African culture in Brazil contemporary secular version of sacred Afo-Brazilian candomblé hymns are called afoxés. (The ritualistic candomblé sect is the product of an innovative blending of Catholic tradition and the beliefs of the secretive African religious societies.) The procession of musicians and singers who bring the candomblé message to the streets of Salvador every year during carnaval is itself known as an afoxé. And so are the drums, Brazil's answer to the Cuban conga. Even a popular percussion instrument today as much at home in high school band rooms in the U.S. Midwest as it is in the winding back alleys of Salvador's historic Pelourinho neighborhood, has taken the name afoxé.
Ernie Watts and Gilberto Gil - Afoxe (flac 334mb)
01 The Green Giant, Part I 04:35
02 Show Me 03:32
03 You're My Thrill 05:01
04 From Japan 07:37
05 Meditation 01:50
06 Rituals Of Spring 03:49
07 A Raca Humana 07:45
08 Free Afoxé 04:14
09 Gondwana 04:33
10 Oriente 05:32
11 The Green Giant, Part II 03:07
12 From Japan (Portuguese version) 04:28
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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.
Gilberto Gil - Unplugged (flac 413mb)
01 A Novidade 5:24
02 Tenho Sede 4:21
03 Refazenda 3:38
04 Realce 4:24
05 Esotérico 5:17
06 Drão 4:03
07 A Paz 4:53
08 Beira Mar 4:55
09 Sampa 3:45
10 Parabolicamará 4:37
11 The Secret Life Of Plants 5:11
12 Tempo Rei 5:02
13 Expresso 2222 4:44
14 Aquele Abraço 4:23
15 Palco 4:31
16 Toda Menina Baiana 4:37
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Today 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
xxxxx xxxxx xxxxx xxxxx xxxxx
Gil was born in Salvador, an industrial city in the northeast of Brazil, though he spent much of his childhood in nearby Ituaçu. Ituaçu was a small town of fewer than a thousand, located in the sertão, or countryside, of Bahia. His father, José Gil Moreira, was a doctor; his mother, Claudina Passos Gil Moreira, an elementary school teacher. As a young boy, he attended a Marist Brothers school. Gil remained in Ituaçu until he was nine years old, returning to Salvador for secondary school.
Gil's interest in music was precocious: "When I was only two or two and a half," he recalled, "I told my mother I was going to become a musician or a president of my country." He grew up listening to the forró music of his native northeast, and took an interest in the street performers of Salvador. Early on, he began to play the drums and the trumpet, through listening to Bob Nelson on the radio. Gil's mother was the "chief supporter" in his musical ambitions; she bought him an accordion and, when he was ten years old, sent him to music school in Salvador which he attended for four years As an accordionist, Gil first played classical music, but grew more interested in the folk and popular music of Brazil. He was particularly influenced by singer and accordion player Luiz Gonzaga; he began to sing and play the accordion in an emulation of Gonzaga's recordings. Gil has noted that he grew to identify with Gonzaga "because he sang about the world around [him], the world that [he] encountered."
During his years in Salvador, Gil also encountered the music of songwriter Dorival Caymmi, who he says represented to him the "beach-oriented" samba music of Salvador. Gonzaga and Caymmi were Gil's formative influences. While in Salvador, Gil was introduced to many other styles of music, including American big band jazz and tango. In 1950 Gil moved back to Salvador with his family. It was there, while still in high school, that he joined his first band, Os Desafinados (The Out of Tunes), in which he played accordion and vibraphone and sang. Os Desafinados was influenced by American rock and roll musicians like Elvis Presley, as well as singing groups from Rio de Janeiro. The band was active for two to three years. Soon afterwards, inspired by Brazilian star João Gilberto, he settled on the guitar as his primary instrument and began to play bossa nova
Gil met guitarist and singer Caetano Veloso at the Universidade Federal da Bahia (Federal University of Bahia) in 1963. The two immediately began collaborating and performing together, releasing a single and EP soon afterwards. Along with Maria Bethânia (Veloso's sister), Gal Costa, and Tom Zé, Gil and Veloso performed bossa nova and traditional Brazilian songs at the Vila Velha Theatre's opening night in July 1964, a show entitled Nós, por Exemplo (Us, for Example). Gil and the group continued to perform at the venue and he eventually became a musical director of the concert series. Gil collaborated again with members of this collective on the landmark 1968 album Tropicália: ou Panis et Circenses, whose style was influenced by The Beatles' Sgt. Pepper's Lonely Hearts Club Band, an album Gil listened to constantly. Gil describes Tropicália: ou Panis et Circenses as the birth of the tropicália movement. As Gil describes it, tropicália (or Tropicalismo) was a conflation of musical and cultural developments that had occurred in Brazil during the 1950s and 1960s—primarily bossa nova and the Jovem Guarda (Young Wave) collective—with rock and roll music from the United States and Europe, a movement deemed threatening by the Brazilian government of the time.
Early on in the 1960s, Gil earned income primarily from selling bananas in a shopping mall and composing jingles for television advertisements;[5] he was also briefly employed by the Brazilian division of Unilever, Gessy-Lever.[6] He moved to São Paulo in 1965 and had a hit single when his song "Louvação" (which later appeared on the album of the same name) was released by Elis Regina. However, his first hit as a solo artist was the 1969 song "Aquele Abraço".[5] Gil also performed in several television programs throughout the 1960s, which often included other "tropicalistas", members of the Tropicalismo movement
In February 1969 Gil and Veloso were arrested by the Brazilian military government, brought from São Paulo to Rio de Janeiro, and spent three months in prison and another four under house arrest, before being freed on the condition that they leave the country. Veloso was the first to be arrested; the police moved to Gil's home soon afterward. Veloso had directed his then-wife Andréa Gadelha to warn Gil about the possibility of arrest, but Gil was eventually brought into the police van along with Veloso. They were given no reason or charge for their arrest. Gil believes that the government felt his actions "represent[ed] a threat [to them], something new, something that can't quite be understood, something that doesn't fit into any of the clear compartments of existing cultural practices, and that won't do. That is dangerous." During his prison sentence, Gil began to meditate, follow a macrobiotic diet, and read about Eastern philosophy. He composed four songs during his imprisonment, among them "Cérebro Electrônico" (Electronic Brain), which first appeared on his 1969 album Gilberto Gil 1969, and later on his 2006 album Gil Luminoso. Thereafter, Gil and Veloso were exiled to London, England after being offered to leave Brazil. The two played a last Brazilian concert together in Salvador in July 1969, then left to Portugal, Paris, and finally London. He and Veloso took a house in Chelsea, sharing it with their manager and wives. Gil was involved in the organisation of the 1971 Glastonbury Free Festival and was exposed to reggae while living in London; he recalls listening to Bob Marley (whose songs he later covered), Jimmy Cliff, and Burning Spear. He was heavily influenced by and involved with the city's rock scene as well. However, he also performed solo, recording Gilberto Gil (Nêga) while in London. In addition to involvement in the reggae and rock scenes, Gil attended performances by jazz artists, including Miles Davis and Sun Ra. to be continued
xxxxx xxxxx xxxxx xxxxx xxxxx
A great early 80s set from Gilberto Gil – and one that has him fully assuming the soul singer mode that would carry him strongly through the rest of the decade! There's still a samba soul sense of funk at the core, but the overall instrumentation is a bit fuller and more electric – a bit like the grooves Marcos Valle was using in the early 80s – a very nice hybrid of Brazilian roots and American soul – with traditional percussion moving alongside warmer keyboards and guitars. Production is by Liminha – and titles include "Banda Um", "Metafora", "Pula Caminha", "Deixar Voce", "Nossa", and "Andar Com Fe".
Gilberto Gil - Um Banda Um (flac 209mb)
01 Banda Um 4:38
02 Afoxé É 4:02
03 Metáfora 4:21
04 Deixar Você 4:45
05 Pula, Caminha 3:40
06 Andar Com Fé 3:20
07 Drão 3:17
08 Esotérico 4:22
09 Menina Do Sonho 4:53
10 Ê Menina 3:51
11 Nossa 2:46
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In the early '90s, in the middle of his mandate as councilman for Salvador, Gil was again concerned with the Afro roots of Brazilian people, and this album strongly reflects that. "Madalena" brings social criticism through Afro soca grooves. "Parabolicamará" builds a discourse about communications over a beautiful ponto de macumba melody with enriched harmonies. "Um Sonho" is a doleful toada about the lack of understanding of the popular soul by politicians and technocrats. "Buda Nagô" is a tribute to Dorival Caymmi in Afro-Bahian style, which features the guest singer Nana Caymmi (Dorival's daughter and Gil's former wife). "Serafim" brings Afro sounds together with a beautiful flamenco-influenced violão solo by Marco Pereira, suggesting the Moorish/Iberian influences received by Brazilian music. "Quero Ser Teu Funk" is the apology of funk in the modern setting of Rio. "Yá Olokun" brings more Afro inspirations, and "O Fim da História" uses again the ponto de macumba style to defend the mistaken post-modernist theory of the end of history. The soulful traditional values of northeastern community are celebrated in the beautiful baião "De Onde Vem O Baião." "Falso Toureiro" is a curious mix of northeastern forró and Afro-beat. "Sina" brings the beautiful reggae by Djavan in a subtler version which was included in the TV series Confissões De Uma Adolescente.
Gilberto Gil - Parabolicamará (flac 308mb)
01 Madalena (Into A Dead End And Out Again) (Entra Em Beco, Sai Em Beco) 3:59
02 Parabolicamará 4:27
03 A Dream (Um Sonho) 4:47
04 Nagô Buddha (Buda Nagô) 3:28
05 Serafim 3:49
06 I Wanna Be You Funk (Quero Ser Teu Funk) 5:57
07 Snow In Bahia (Neve Na Bahia) 3:39
08 Yá Olokun 3:41
09 The End Of History (O Fim Da História) 3:18
10 Where The Baião Comes From (De Onde Vem O Baião) 3:11
11 Phony Bullfighter (Falso Toureiro) 3:28
12 Fate (Sina) 3:55
xxxxx xxxxx xxxxx xxxxx xxxxx
Afoxé (pronounced ah-fo-SHAY), much like the music Ernie Watts, Gilberto Gil and their friends have created here and in Brazil itself, is the sum of striking contradictions.
In Bahia, the vast coastal state known as the heartland of African culture in Brazil contemporary secular version of sacred Afo-Brazilian candomblé hymns are called afoxés. (The ritualistic candomblé sect is the product of an innovative blending of Catholic tradition and the beliefs of the secretive African religious societies.) The procession of musicians and singers who bring the candomblé message to the streets of Salvador every year during carnaval is itself known as an afoxé. And so are the drums, Brazil's answer to the Cuban conga. Even a popular percussion instrument today as much at home in high school band rooms in the U.S. Midwest as it is in the winding back alleys of Salvador's historic Pelourinho neighborhood, has taken the name afoxé.
Ernie Watts and Gilberto Gil - Afoxe (flac 334mb)
01 The Green Giant, Part I 04:35
02 Show Me 03:32
03 You're My Thrill 05:01
04 From Japan 07:37
05 Meditation 01:50
06 Rituals Of Spring 03:49
07 A Raca Humana 07:45
08 Free Afoxé 04:14
09 Gondwana 04:33
10 Oriente 05:32
11 The Green Giant, Part II 03:07
12 From Japan (Portuguese version) 04:28
xxxxx xxxxx xxxxx xxxxx xxxxx
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.
Gilberto Gil - Unplugged (flac 413mb)
01 A Novidade 5:24
02 Tenho Sede 4:21
03 Refazenda 3:38
04 Realce 4:24
05 Esotérico 5:17
06 Drão 4:03
07 A Paz 4:53
08 Beira Mar 4:55
09 Sampa 3:45
10 Parabolicamará 4:37
11 The Secret Life Of Plants 5:11
12 Tempo Rei 5:02
13 Expresso 2222 4:44
14 Aquele Abraço 4:23
15 Palco 4:31
16 Toda Menina Baiana 4:37
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Hi.
ReplyDeleteCould you maybe reup the first 3? Um banda um, Parabolicamara ] Afoxe. Thanks!