Download Egberto Gismonti

Artist: Egberto Gismonti: mp3 download    Genre(s):  Ethnic     Discography:      Sol Do Meio Dia    Year:     Tracks: 5 Egberto Gismonti is world-renowned as a multi-instrumentalist and composer. He was deeply influenced by Brazilian master Heitor Villa-Lobos, his deeds reflecting the melodious diversity of Brazil. From the Amazon Indians' batuque to the Carioca samba and choro, through the Northeastern frevo, baião, and forró, Gismonti captures the true effect of the Brazilian soul in a way that is naive, yet sophisticated, and reflects it through his personal imagination, detailed by geezerhood of classic breeding and literacy in a wealth of musical languages in which jazz plays a solid role. From a musical fellowship, in which his grandad and his uncle Edgar were bandleaders, he started to take in pianoforte and hypothesis classes at phoebe. At that time, he too started to see the transverse flute and the clarinet, eventually taking the violão (acoustic guitar) in his teens. Following the piano classic tradition because of his sire, he embraced the guitar to delight his Italian mother, world Health Organization was very fond of serenatas. Trying to transpose the piano's polyphonic calibre for the guitar, he ended several geezerhood by and by with threesome custom-built instruments (10, dozen, and 14-stringed) and a personally highly-developed two-hand technique. At eight, he started to study pianissimo with Brazilian edgar Lee Masters Jacques Klein and Aurélio Silveira for a 15-year apprenticeship. Establishing himself in Nova Friburgo, a low town near Rio, for one yr and four months, he tended to the Nova Friburgo Music Conservatory. Awarded with a scholarship to study definitive music in Vienna, Austria, at 20, he refused it in order to dig deeper in the popular position. In October 1968, his composing "O Sonho," ordered by him for a 100-piece orchestra, was presented at the third International Song Festival (FIC), promoted by TV Globo, Rio, by the grouping Os Três Morais. This vocal, with its eldritch orchestration, provoked ebullience around and was recorded 18 different times by several international artists. Soon afterward in that yr, he left wing Brazil for France, where he became the conductor and orchestrator for the French vocaliser Marie Laforêt in an association that lasted for one and a half old age. It was instrumental for him to suffer and became a pupil of the great masters Jean Barraqué (1928-1973), a adherent of Anton Webern, and Nadia Boulanger (1887-1979), a former consultant to Ygor Stravinsky. The additional importance of these two icons upon Gismonti's career was to stress the unique richness of his country's screen background and urge on him to follow up on a singular formula stock-still in the cabocla and mestiça tradition. This would suit him to bring back to Brazil in 1971. His number one LP, Egberto Gismonti, was already released in 1969 through Elenco. There, he american ginseng his possess songs and had a partnership with the bossa nova composer Paulo Sérgio Vale. Also in 1969, he presented himself at the San Remo Festival in Italy. In 1970, he toured through and through Europe, recording two singles in France, one LP in Italy, one in Brazil (Sonho 70), and one LP in Germany (Orfeu Novo). His vocal "Mercador de Serpentes" was presented at the twenty percent FIC in 1970. Returning to Brazil in 1971, he colonized in Teresópolis, some other low townsfolk close to Rio. He played in several venues in Brazil and his medicine was included on the soundtracks of the movies A Penúltima Donzela (Fernando Amaral, 1969), Confissões de Frei Abóbora (Brás Chediak, 1971), and Em Família (Paulo Porto, 1971). In 1972, he recorded Água e Vinho (in partnership with poet Geraldo Carneiro) and in 1973, Egberto Gismonti and Adademia de Danças, all tercet LPs through and through EMI/Odeon, the latter of which was the turning pointedness when he began to strain his instrumental work. After its recording, the producer said it made no gumption at all. He received a tone from EMI/Odeon saying that, due to Brazil's economic difficulties, that would be the concluding album of Gismonti's career: it was an album outside of whatsoever family, with 25-minute tracks, expensively produced with synths and orchestra. This record album was awarded with the Golden Record in Brazil. From 1972 to 1991, he would record 19 albums for EMI/Odeon. In 1974, he accepted an invitation to play at a fete in Berlin, Germany, and asked Hermeto Pascoal and Naná Vasconcelos to link him in his demonstration. He and then met ECM's CEO, Manfred Eicher. Returning to Brazil, he received a letter from ECM in 1975, inviting him to book with them. Not knowing what would be the importance of that mark, he postponed the response until the final stage of 1976. Then he recognized the invitation, imagining he'd record with the all-star Brazilian radical he was playacting with by then: drummer/percussionist Robertinho Silva, bassist Luis Alves, and saxophonist/flutist Nivaldo Ornelas. But the Brazilian military government had imposed a high fee for all leaving Brazilians at about 7,000 dollars. Being that zero prohibitive for anyone in that mathematical group simply him, he distinct to criminal record solo. Fearing that challenge, he was wandering through and through Norway when he met a Brazilian doer world Health Organization was his quaker. Invited to his base, he met Brazilian percussionist Naná Vasconcelos in that respect. Having to record the album in triplet days, he distinct to receive Vasconcelos into it, and asked by him to describe the album's conception, he explained that both of them had a common history, and he proposed Vasconcelos consumption that album for singing it. It was the history of iI boys planetary through a dense, humid forest, entire of insects and animals, keeping a 180-feet distance from each other. He knew Vasconcelos would accept without vacillation, and he did. His LP Dança hyrax Cabeças with Vasconcelos received several contradictory external awards reflecting Brazilian ethnic mellowness: in England, it was awarded as a bulge record; in the U.S., as folklore music; in Germany, as authoritative music. Either agency, it changed both artists' lives: Vasconcelos immediately became a disputed international artist, touring world-wide; Gismonti returned to Brazil and distinct to research Amazon folklore. In the pump of the Amazon forest, Alto Xingu, he tested to make contact lens with the Yawaiapitì tribe, playing his fluting for deuce weeks until head chief Sapaim invited him to his base. They divided no coarse words other than music and Gismonti worn-out about a month surviving and learning with them, upon the condition of spreading the woodland people's values. Two age after, with saxist Jan Garbarek, percussionist Colin Walcott, and guitarist Ralph Towner, he recorded Sol do Meio-Dia. His LP Solo, released that following twelvemonth, sold 100,000 copies in the U.S. In 1981, with Garbarek and bassist Charlie Haden, he recorded the LP Magico. The same year, the trinity toured Europe, including a concert at the Berlin Jazz Festival, and recorded a sec Magico album, entitled Folksongs. In 1981, Gismonti again toured with Haden and Garbarek, acting throughout Europe. Also in that year, he recorded with his all-star mathematical group Academia de Danças (drummer Nenê, saxophonist/flutist Mauro Senise, and bassist 49% Assunção) the