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Universo musical de Egberto Gismonti - Guitar solo

Daniel Murray
Discos: Jazz / MPB

Disponible

Ficha técnica Discos

Sello	Carmo
Estilo	Jazz / MPB
Año de Edición Original	2019
Instrumental

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Daniel Murray (guitarra clásica, guitarra de 10 cuerdas, arreglos)

6º disco del "requintado e estudioso" (en palabras de Guinga) guitarrista Daniel Murray Santana de Vasconcellos (Rio de Janeiro, RJ, 1981). Inquieto y talentoso, en cada disco se adentra en un universo musical diferente. Ahora en la obra del gran compositor fluminense Egberto Amin Gismonti (Carmo, RJ, 1947) a través del sello discográfico de éste.
En paralelo a su faceta de instrumentista, es profesor de guitarra clásica y teoría musical en la escuela Companhia das Cordas, en São Paulo.

"On July 19, 2015, Rio de Janeiro-born guitarist Daniel Murray sat down with one of his greatest musical heroes: Egberto Gismonti. After hours of sharing music, conversation, and dessert, he left the meeting inspired to start arranging Gismonti’s compositions for solo guitar. Gismonti so loved his first such attempt, “Forrobodó,” and the freedom of approach it embodied that he gave his approval for the present recording. The appropriately titled Universo Musical de Egberto Gismonti is filled to the brim with original arrangements of Gismonti’s music, save “Memória e Fado” and “Choro,” both already written for solo guitar.
Murray is an exquisitely talented musician possessed of technical virtuosity and a genuine adoration for Gismonti. But his deepest talent may just be his ability to balance clean, classical execution with open expression. This is most obvious in pieces like “Carmem” and “Memória e Fado,” in which his attention to detail shines. Sul tasto playing and harmonics speak of external ornamentation but of layers within. Some of the most coniferous tunes (e.g., “Água e Vinho” and “Baião Malandro”) are quietly re-clothed with finery, while “Sete Anéis” hides none of the heavy emotional lifting required to move it.
“Maracatu” and “Frevo” are among the more adventurous interpretations. Where the former opens with a flurry of extended sounds working their way into the tune proper, the latter offers its virtuosity in humility, taking on Gismonti’s butterfly effect without fear. And if “Saudações” is a kaleidoscopic wonder, then “A Fala da Paixão” is the lyrical light passing through it, as is the concluding “Palhaço,” in which breath surrenders to beauty.
There is a nocturnal feeling to this session that, in being so close to Gismonti’s heart, emphasizes the sunshine that awaits on the other side of life." (ecmreviews.com, 01.05.2020)