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Points: 1420 		Direct Link To This Post Topic: Egberto Gismonti
    Posted: December 11 2015 at 05:22
His presence and MUSIC have more to do with PROG IN ITSELF than other jazz musicians in the archives, even MILES DAVIS. So, I was asking myself, why all the brazilian musicians (including me) get all this trouble to be here? Is Egberto less progressive than BJORK or PASSPORT? Why if any new brazilian artist is added to the site it has to be under FOLK even if they are Crossover, Ecletic, Psychedelic? (the instruments used of the bands I'm thinking about aren't different than Hawkwind and there is a band listed as top Crossover marks together with Peter Gabriel and was only accepted as FOLK).

I already watched a lot of american or whatatever garage musicians being added quickly to the archives. THe fact is, years ago I thought brazilian music was SH*TTY. And then I found out interviews and stuff with prog and jazz and contemporary classical masters talking about who, how and why brazilian artists are probably the best in the world and I started digging underground. For example, Pat Metheny and that Radiohead guitarist talked about Toninho Horta and his compositions (including his music to Milton Nascimento, as the album Clube da Esquina). After all that praise I was asking why nobody even here knows about this guy? A deep research and you will understand: OUR MUSIC IS DYING BY SILENCE. And unfortunatelly, PA is glad helping this to happen.
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Points: 13054 		Direct Link To This Post Posted: March 22 2015 at 13:45
Originally posted by moshkito moshkito wrote:

Originally posted by rsinatra rsinatra wrote:

How has someone not made a bigger case out of this? Egberto Gismonti started his career as more of a Brazilian popular musician, (despite already being quite experimental in his his early albums, showing very high compositional and instrumental level), and then he went on to to PROG.
...
 
Egberto is probably the one artist along with Terje Rypdal, that I have talked the most ... here as needing to be introduced to a "progressive" audience.
 
I am not sure that it will happen, because the definition wants a band that sounds like Genesis, ELP or a kind of metal'ized sound with keyboards these days.
 
I don't know what to say ... anything of Egberto up until Sanfona and an album or two after it, should be listed here. I, personally, do not like to see it listed in the JMA because it is lost and mired in too much of nothing and just like here, personal favorites, from folks that do not always listen to things a bit more.
 
What i think happens is that folks think that if they hear something different, it will make them lose their appreciation for what they like, and in all actuality, it works the other way ... not that way at all, while also gaining even more perspective on something else!
Last time I looked, Prog Archives.com is "Your ultimate prog rock resource". There is no doubting Gismonti's "progressiveness" in Brazilian music, jazz and world music. No question. But he is fundamentally a jazz performer. He is affiliated with jazz performers. He has released jazz albums. His music is played by other jazz musicians (like the sublime "Frevo Rasgado" by McLaughlin and de Lucia on Friday Night in San Francisco). It is the reason he's listed in the Jazz Music Archives.
 
Originally posted by moshkito moshkito wrote:

My personal favorite is "No Caipira' ... with one problem ... the music in there would drive the PA audience to the graveyard, and then they would be at my door screaming ... you call that music? 
 
See, it is this sort of patronizing bullsh*t that I find ridiculous. I own Gismonti albums (three to be exact, all while he was dabbling with fusion on the ECM label), but I don't really have the urge to discuss jazz on a prog rock forum. Because I have the ability to discern which genre is which and which forum is better suited for the discussion. Why is it so difficult for you to show such discernment and not continually insult everyone here?
 
 
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Points: 17509 		Direct Link To This Post Posted: March 22 2015 at 12:26
Originally posted by Prog-Brazil Prog-Brazil wrote:

Academia de Danças (1974): fusion
 
My personal favorite is "No Caipira' ... with one problem ... the music in there would drive the PA audience to the graveyard, and then they would be at my door screaming ... you call that music?  LOL
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Points: 17509 		Direct Link To This Post Posted: March 22 2015 at 12:25
Originally posted by rsinatra rsinatra wrote:

How has someone not made a bigger case out of this? Egberto Gismonti started his career as more of a Brazilian popular musician, (despite already being quite experimental in his his early albums, showing very high compositional and instrumental level), and then he went on to to PROG.
...
 
Egberto is probably the one artist along with Terje Rypdal, that I have talked the most ... here as needing to be introduced to a "progressive" audience.
 
I am not sure that it will happen, because the definition wants a band that sounds like Genesis, ELP or a kind of metal'ized sound with keyboards these days.
 
I don't know what to say ... anything of Egberto up until Sanfona and an album or two after it, should be listed here. I, personally, do not like to see it listed in the JMA because it is lost and mired in too much of nothing and just like here, personal favorites, from folks that do not always listen to things a bit more.
 
What i think happens is that folks think that if they hear something different, it will make them lose their appreciation for what they like, and in all actuality, it works the other way ... not that way at all, while also gaining even more perspective on something else!
Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
www.pedrosena.com
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Points: 596 		Direct Link To This Post Posted: March 22 2015 at 11:58
Academia de Danças (1974): fusion
Let the sunshine in
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Points: 29630 		Direct Link To This Post Posted: February 26 2015 at 17:38
There's always jazzmusicarchives, enjoy his presence there.
Released date are often when it it impacted you but recorded dates are when it really happened...
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Direct Link To This Post Posted: February 26 2015 at 04:18
He's been rejected.
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Points: 596 		Direct Link To This Post Posted: February 21 2015 at 14:57
another one
https://www.youtube.com/watch?v=nMb4Ki76pAI


Edited by Prog-Brazil - March 22 2015 at 11:57
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Direct Link To This Post Posted: January 05 2015 at 03:31
^There was an discussion about him long time ago, I'll have to check it and get back to you. Those albums do sound interesting.
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Points: 12 		Direct Link To This Post Posted: January 04 2015 at 17:42
How has someone not made a bigger case out of this? Egberto Gismonti started his career as more of a Brazilian popular musician, (despite already being quite experimental in his his early albums, showing very high compositional and instrumental level), and then he went on to to PROG. His prog might be the most original in Brazil, because it blends Brazilian popular music, jazz, and prog rock. Most of other progs usually ignore all Brazilian roots in favor of foreign rhythms, with exception of some prog folks such as a Barca do Sol, whose godfather was none other than Gismonti himself. I do not know if it would be a prejudice against jazzy chords and progressions or latin rhythms that prevent him from being here? I think  progarchives  is quite an open-minded website, and I am sure there is a lot of latin and jazzy stuff here. I mean, there is some Miles Davis cool jazz and Herbie  Hancock post-bop jazz under the jazz-fusion rock. So why not Egberto's prog records, which are  more  closer  to prog  obviously?

After 2-3 records experimenting with prog, he moved on and became this world jazz giant, recording many memorable albums for ECM, including a couple with jazz legends  Jan Garbarek and Charlie Haden. But his two records, Academia de Danças and Corações Futuristas  definitely have  their hearts on prog. It may be weird for someone not familiar with Brazil's rhythms and harmonically complicated chords and melodies - and  I hope I don't come off as an arrogant  idiot - but this  is what prog fans love, you just have to  get to know it. It's truly beautiful, symphonic brazilian jazzy prog. These Egberto albums and Barca do Sol's discography may not be considered the best in prog to come out of Brazil, but  they definitely represent the most Brazilian prog albums, that did not not abandon their roots..

here are both aforementioned albums by Gismonti

Academia de Danças (1974) - Symphonic World Jazz Fusion Prog


Corações Futuristas (1975) - Symphonic World Jazz Fusion Prog


P.S. he studied classical piano in Vienna, and is also an incredibly accomplished guitarist , he plays on a 10-string classical guitar  and some  other  crazy ones. He  also  plays flutes, sings... a true multi-instrumentalist. 




Edited by rsinatra - January 04 2015 at 17:56
My album:

https://www.youtube.com/watch?v=y37kyLNUg78
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Points: 10617 		Direct Link To This Post Posted: June 04 2012 at 15:54
You might be interested in knowing that Gismonti is on this site's associated jazz site in the World Fusion section.

http://www.jazzmusicarchives.com/
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Points: 29630 		Direct Link To This Post Posted: June 04 2012 at 14:38
I give him a thumbs up for JRF.  Long time fan.

On CD I have:
Works
Sol Do Meio Dia
Retratos
Musica De Sobrevivencia
Infancia
Released date are often when it it impacted you but recorded dates are when it really happened...
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Points: 2866 		Direct Link To This Post Posted: June 04 2012 at 02:32
I assume this for JRF, and he has done two collabs with Jan Garbarek.
 
 
 
 
 
 
 
 
 
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Points: 298 		Direct Link To This Post Posted: June 04 2012 at 02:13
Especially for what he did in the mid 70s, I think Egberto definitely deserves to be on progarchives.
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