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Nó caipira

Egberto Gismonti
Discos: Jazz fusión

Disponible

Ficha técnica Discos

Sello	Carmo
Estilo	Jazz fusión
Año de Edición Original	1978
Instrumental

Más

Grupo Academia de Danças: Egberto Gismonti (piano, acordeón, guitarras, flautas, percusión, voz), Mauro Senise (saxos, flautas, percusión), Zeca Assumpção (contrabajo, percusión), Zé Eduardo Nazário (batería y percusión).

Participación especial de: Robertinho Silva (percusión) Zezé Motta (voz en "Canção da espera"), orquesta de cuerdas (en "Palácio de pinturas" y "Sertão brasileiro")

Orquestra de Campinas, dirigida por Benito Juarez, en "Dança das sombras", tema grabado en 1979, que fue incluído en la primera edición en CD, en 1993.

Reedición europea (Alemania), de 1993, del disco lanzado originalmente en Brasil en 1978 por el sello EMI, con diferente portda (la segunda foto es la de la edición original). Remasterizado. Incluye 1 tema extra ("Dança das sombras").

"Nó Caipira is an album originally released in 1978 on EMI and reissued as the seventh CARMO release in 1993. The words are multivalent, a love song for a muse not present but also a promise to the listener. After the experimental derailing that was Trem Caipira, here we have an album that blessedly shares nothing more than a titular word. If anything, it’s a stylistic return to form we encounter in “Saudações,” the opening bossa nova written in the style of its dedicatee, João Gilberto. With just a guitar and voice (and no pesky electronics) to guide us, we can bask in the organic richness of everything that unravels from here.
Gismonti’s Academia de Danças group plays the entire album, save for the closing “Dança das Sombras,” performed by the Campinas Orchestra and soprano saxophonist Mauro Senise. As one of his more complex creations, it renders a dark yet undeniably enchanting climate that admirers of Keith Jarrett’s classical forays are sure to enjoy with even greater appreciation for depth. As for everything leading up to it, we encounter one overcast touchpoint after another, each alive with hints of the sunlit clearings we have left behind.
Filling in the gaps of memory are some shorter pieces with a folky vibe. The standout among these is “Maracatú, Sapo, Queimada & Grilo” for recreating the sounds of a forest. The human voice is a distant traveler in this instance, but makes an especially vivid appearance via Zezé Motta in “Canção da Espera.” Accompanied only by Gismonti on piano, Motta expresses her desires for nothing so grand as whirlwind romances and material riches but only a love that fulfills its promises. Other necessary stops along the way include “Pira & Bambuzal,” a strange and surreal blast of church organ that spills into “Palácio de Pinturas,” where a string orchestra flows close enough to touch. This sojourn belongs in a museum case alongside Gismonti’s most ethereal creations. But the biggest surprise for me is “Selva Amazônica.” As a splendid tribute to Heitor Villa-Lobos, its combination of 12-string guitar and percussion floats down a river dividing the lands of Ralph Towner (who, incidentally, loaned the guitar being played) and Steve Tibbetts. Its beauties are sagacious.
This album is a masterpiece that digs frantically into the ground in search of treasure, only to find a mirror to see that it was the treasure all along. An ideal place to plant your first step on the CARMO plateau." "ecmreviews.com, 28.04.2020)

Temas

CD 1

Saudações
Egberto Gismonti - Paulo César Pinheiro