Gilberto Gil

Gilberto Gil - Gilbertos Samba (2013) {Sony Music Brasil 8884303753-2}
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© 2013 Sony Music Brasil | 888 4303753-2
Música popular brasileira / Samba / MPB / Brazilian Pop / Tropicalia / World Music

In the realm of Brazilian music there's only one bigger Gilberto than Gilberto Gil, and that is none other than the patron god of bossa nova, the legendary João Gilberto. In Gilbertos Samba, Gil pays tribute to the master in a two-fold way, firstly by recording his own versions of songs indelibly associated with João Gilberto (plus two originals by Gil), and secondly by doing something similar to what Gilberto did on his classic 1981 album Brasil. Gilberto recorded Brasil together with Caetano Veloso, Gilberto Gil, and Maria Bethânia, but chose a repertoire of standards by composers Ary Barroso and Dorival Caymmi, effectively melding the three most important movements of Brazilian popular music into a single album, the sambas of the '30s and '40, the bossa nova of the '60s, and the tropicalismo of the '70s.

Gilberto Gil - Quanta Gente Veio Ver (1998) {2CD Set, Warner Music Brasil 092746050-2 rel 2002}
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© 1997-98, 2002 Warner Music Brasil | 092746050-2
Jazz / Brazilian Jazz / Música popular brasileira / Brazilian Traditions / Brazilian Pop

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.

Gilberto Gil - Kaya N'gan Daya (2002) {Warner Music Brasil 092747177-2}
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© 2002 Warner Music Brasil | 092747177-2
Jazz / Brazilian Jazz / Música popular brasileira / Brazilian Traditions / Brazilian Pop

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).

Gilberto Gil - Gil Luminoso (1999) {DRG Records 31618 rel 2006}
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© 1999, 2006 DRG Records / GeGe Prod / Sarapui Prod | 31618
Música popular brasileira / MPB / Brazilian Traditions / Brazilian Pop

Throughout his four-decades-plus career as one of Brazil's most popular singers, Gilberto Gil has restlessly sought new avenues of expression, from the heady and fiery psychedelic Tropicalia of the '60s to his 2002 album of Bob Marley covers, Kaya N'Gan Daya. But there was one thing Gil had never attempted until now, an album spotlighting nothing but his voice and guitar. Gil Luminoso is, by its very nature, one of the most intimate recordings he has ever made and, not surprisingly, one of the loveliest and most moving.

Gilberto Gil - São João Vivo (2000) {Warner Music Brasil 092746052-2 rel 2002}
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© 2000, 2002 Warner Music Brasil | 092746052-2
Jazz / Brazilian Jazz / Música popular brasileira / Brazilian Traditions / Brazilian Pop

São João Vivo is the live version of As Canções de Eu Tu Eles, the Brazilian popular music legend Gilberto Gil's fine homage to Luiz Gonzaga and forro. This is basically the same album, though of course recorded live. Compared to the studio album, a few additional tracks have been added. Perhaps the most welcome of those tracks is Anastácia's romantic "Só Quero um Xodó," which Gil recorded with great success in the '70s. Gil also presents a different version of his own "Toda Menina Bahiana," another very fine '70s hit of his. To sum it up, though, São João Vivo is indeed a nice, enjoyable live album, but it is basically unnecessary for anyone who already owns the studio album As Canções de Eu Tu Eles.

This 18-track anthology spans three decades, but the only way you'd know is through the gentle introduction of studio technology. Together with his friend Caetano Veloso, Gilberto Gil ushered in the late-60s tropicalismo style, which blended a variety of regional genres to form a musical challenge to Brazil's then-oppressive regime. Their lyrics were dense and allusive, their tempi were exhilaratingly fast. Gil's own songs are perfectly attuned to his light, high timbre; his favourite accompaniment is a delicately-strummed acoustic guitar, which often descends to a confidential whisper. If he uses a backing group, he does so very discreetly; a light touch of Latin percussion is quite sufficient to allow him to float his songs into the ether. This exhilarating album begins with his early song about his home patch in Salvador "Toda Menina Baiana", and moves on through a gamut of national styles and moods.

Gilberto Gil - To Be Alive Is Good Anos 80 (2002) {Warner Music Brasil 092747427-2 rec 1981-1988}
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© 1981-88, 2002 Warner Music Brasil | 092747427-2
Jazz / Brazilian Jazz / Brazilian Folk / Música popular brasileira / Brazilian Traditions / Brazilian Pop

A leader of the Tropicalia movement in Brazil in 1967 and 1968, along with artists like Caetano Veloso and Gal Costa, Gilberto Gil and other musicians mixed native styles with rock and folk instruments. Because Gil 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 '60s was earning a living as a jingle composer. Although known mostly as a guitarist, he also holds his own with drums, trumpet, and accordion.

Gilberto Gil - Gilberto Gil (Frevo Rasgado) (1968) {Mercury–Universal 73145428132 rel 1998}
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© 1968, 1998 Mercury / EmArcy / Universal | 73145428132 / 542 813-2
Jazz / Brazilian Jazz / MPB / Brazilian Traditions / Brazilian Pop

Gilberto Gil's second album is packed with some of the best songs of his career – jubilant pop extravaganzas like "Domingo No Parque," "Pega a Voga, Cabeludo," and "Frevo Rasgado" that were equally inspired by the irresistible, brassy bombast of Carnaval and intelligent rock & roll from America and Britain. Even more than the other tropicalistas, though, Gil blends his rock and native influences seamlessly, resulting in songs like "Êle Falava Nisso Todo Dia" that chart an intriguing fusion of Brazilian and British Invasion (before he breaks into Portuguese for the first verse, the intro sounds exactly like a few early Rolling Stones productions).

Gilberto Gil - Quanta (1997) {Warner Music Brasil 063018919-2}
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© 1997 Warner Music Brasil / WEA | 063018919-2
Música popular brasileira / MPB / Brazilian Pop / Tropicalia / World Music

Longtime fans of the Brazilian bard could probably do without the slick synthesizers and sterile drum loops that candy up his 36th album, but no Gil effort is without appeal. Throughout Quanta, he gets by on his gift for melody and his far-ranging imagination (a trademark of the Tropicalia movement). Shouts-out to quantum mechanics, crab vendors, and the goddess Shiva dot his slinky, intricate compositions. "Pela Internet," a buoyant, starry-eyed ode to the information superhighway, makes a strong impression, but the real high point comes toward the end with a trio of songs that rely on little more than acoustic guitar and Gil's mellow, lilting voice.