Gilberto Gil

To lovers of Brazilian jazz, the pairing of these two legends of the genre amounts to something of a musical orgasm. The only serious misfire isn't really that bad, just a bit incongruous. Why would two consummate Brazilian ambassadors choose to do their one English lyric song – George Harrison's "Something" – as a reggae tune? The groove is silly, but actually some of the guitar work is fun. Just as when Ivan Lins sings in his native Portuguese rather than stilted English, this tandem is most at home conveying emotions that go beyond simple semantics, usually with Gil writing the music and Nascimento the lyrics. "Sebastian" is a moody bass-and-drum driven power ballad which functions as a showcase to their raspy vocals. The romantic, accordion-enhanced "Duas Sanfonas" would be more effective without the guest vocals by Sandy and Junior.

Gilberto Gil - Unplugged (1994) {Warner Music Brasil 092746048-2 rel 2003}
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© 1994, 2003 Warner Music Brasil | 092746048-2
Jazz / Brazilian Jazz / Música popular brasileira / Brazilian Traditions / Brazilian Pop

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.

The Portuguese title of this Gilberto Gil release makes ambiguous references to "changes" and "dance." In fact, it is a dance-oriented album, basically dealing with electric funk grooves. It's a good album that has plenty of Brazilian percussion filling the gaps of the backbeat. More attention to melodies is dispensed in "Mulher de Coronel," in the samba "De Bob Dylan a Bob Marley" (with interesting lyrics dealing with racial problems), in the pop ballad "Cada Tempo em Seu Lugar" (also having good lyrics about the urge of helping), and the beautiful hit the pop ballad "Amarra o Teu Arado a Uma Estrela."

Expresso 2222, Gilberto Gil's first album back in Brazil after spending two years in exile, is a spirited return to form, filled with driving, funky bass, hammering piano, and percussive guitar work. Gil's compositions are on par with the best of his 1968 and 1969 self-titled albums, but is a more even overall affair forsaking the outright diversity Gil showed on those previous albums for a more cohesive set of songs, and while the performances aren't as outrageously groundbreaking, with Expresso 2222 Gil had already proved how far he was capable of pushing the envelope, and so the insane arrangements were no longer necessary. This makes Expresso 2222 one of Gil's most immediately palatable releases of his entire career, and compared to the standards of global rock & roll it is of the most compelling and complex yet accessible albums released in the 20th century. Gil's compositions are melodic and beautiful, and his arrangements are imaginative as always; from using a chorus of backing vocals to great effect on "O Canto de Ema" and "Sai do Sereno" to the rhythmic interplay between Gil's guitar, vocals, and layered percussion on the title track, Gil is in top form throughout the album.

Gilberto Gil - As Canções de Eu Tu Eles (2000) {Warner Music Brasil 092746051-2 rel 2002}
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© 2000, 2002 Warner Music Brasil | 092746051-2
Jazz / Brazilian Jazz / Música popular brasileira / Brazilian Traditions / Brazilian Pop / Film Score

This fine and interesting CD is the soundtrack of the movie Eu Tu Eles (Me You Them) and also a tribute from Gilberto Gil to Luiz Gonzaga, one of the most influential Brazilian artists during the 20th century. Gonzaga is widely known as the King of the Baião, and played a key role in developing and popularizing the different music styles of the Brazilian Northeast, such as baião, xote, and forró. Very much true to rugged, unpolished sound of the original versions, yet managing to add his own unique and personal style, Gil interprets several Gonzaga classics such as "Assum Preto," "Asa Branca," "Juazeiro," and "Qui Nem Jiló."

Gilberto Gil - Luar (1981) {Warner Music Brasil 092746039-2 rel 2002}
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© 1981, 2002 Warner Music Brasil | 092746039-2
Jazz / Brazilian Jazz / Música popular brasileira / Brazilian Traditions / Brazilian Pop

After the hard years dominated by social convulsion in Brazil, in which it was demanded that every artist explicate his political views, the end of dictatorship brought an uncommitted inebriating feel of liberty that was translated into music by Caetano Veloso's "Odara" (where all the composer wanted to do was to dance) to the horror of political activists. This is the Gilberto Gil version of those days. One of his most danceable albums, most songs make it clear that no further considerations are taken into account, just plain Saturday night entertainment.

Gilberto Gil - Dia Dorim Noite Neon (1985) {Warner Music Brasil 092746043-2 rel 2002}
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© 1985, 2002 Warner Music Brasil | 092746043-2
Jazz / Brazilian Jazz / Música popular brasileira / Brazilian Traditions / Brazilian Pop

Released in the year that Gil commemorated 20 years of career, this release has several rhythms with predominant Afro-Brazilian beats. The lyrics are again combative. After a vignette, the album opens with social criticism in the reggae "Barracos," the hit of the record. "Roque Santeiro, O Rock" is a rock about the urge of understanding the new generations and their iconoclastic preferences. "Seu Olhar" talks about love with a pop/blues beat. "Febril" has bossa nova in another song dedicated to social concerns. Pop and Afro-Bahian sounds propel "Touche Pas Á Mon Pote," where Gil highlights the importance of France through lyrics in French.

Gilberto Gil - Em Concerto (1986) {Warner Music Brasil 092746058-2 rel 2002}
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© 1986, 2002 Warner Music Brasil | 092746058-2
Jazz / Brazilian Jazz / Música popular brasileira / Brazilian Traditions / Brazilian Pop

This is an uncompromising retrospective by Gilberto Gil of his career and successes. It may be superfluous for those who already have these hits in previous cult renditions (not the post-'80s fancy versions), but for those who don't, this album stands as a good choice. In simple, predominantly acoustic renditions interspersed with some spoken testimonials, Gil delivers "Eu Vim da Bahia," "Procissão," "Domingo No Parque," "Soy Loco Por Ti America," and "Mar de Copacabana." The dance tracks "Filhos de Gandi" and "Palco" are representative of his frenetic, consumerist phase. He also plays his blue for his mother, "Mamma," and a version of Stevie Wonder's "I Just Called to Say I Love You."

Unlike his friend and fellow Brazilian musical legend, Caetano Veloso, Gilberto Gil, through the years, has had a strong tendency to follow the temporary shifts in styles and trends that occur within popular music. Because of this the music of Gil usually has sounded very up to date when it was released, but often his recordings haven't at all aged as gracefully as the timeless music of Caetano Veloso. The tracks on many of the albums of Gilberto Gil have also been of very uneven quality. Refavela is clearly one of the exceptions to this rule. Heavily inspired by traditional African and Afro-Brazilian sounds and rhythms, the songs on this album have aged very well indeed. The title of the album, Refavela, of course, refers to the slum quarters found in the large Brazilian cities, which are called favelas.