Egberto Gismonti

Sol do Meio Dia

★★★½

Egberto Gismonti is a Brazilian multi-instrumentalist that has released a run of albums on the ECM label. He's most known for his tropical and jazzy guitar playing that is both airy, but also very grounded and earthy. Like it holds the entire history of the people and the land of the Americas in its strings. Gismonti is joined here with a variety of well-known and respected ECM players at the time. These include Ralph Towner, Collin Walcott, Nana Vasconcelos, and Jan Garbarek. They're not all playing together but they joined Gismonti in his endeavors when necessary, and in the most prime moments possible. The album is split between four songs, each about five to nine minutes long, and then a side long piece that acts more like a suite than a traditional song. 

The opener, "Palácio de Pinturas", is a duo on guitars between Towner and Gismonti. It's very jazzy and at some times even a bit jagged. Yet it never feels overly complex or strenuous, it's just two voices that fill the empty vacuum around them. Creating their own universe whether it be lush and saturated or vast and empty, they accomplish this wide range in just the five minute length of this song. "Raga" amps it up a bit, with Walcott's rapid and cloud-like tabla guiding Gismonti further into the jungle. Much like the mysterious and appealing cover photo, you have no idea what lies ahead, but it can only be better than what was behind you. The next two songs shift between Amazonian village music with Gismonti on flute, to a classic coffee table jazz setting with Gismonti on solo piano. It's a bit strange and unwelcome to me but thankfully the last piece is here to save what's left.

The twenty five spiritual and physical journey through the rain forest is in the form of the song / suite, "Café / Sapain / Dança Solitária No. 2 / Baião Malandro". Garbarek briefly cuts in, providing a perfectly balanced and emotional sound that is the kind of playing that he should always be known for. Not the kitschy playing style he discovered later that makes him almost unbearable. Then you are suddenly hit with these wooden flutes and chanting that is reminiscent of Herbie Hancock's "Watermelon Man" on Head Hunters. The vocals continue with some clapping and more playful flute playing, Gismonti acts as though the jungle is his personal playground. Where he interacts with everything around him in peace and harmony. 

The whole album ends with some more solo piano, which is alright, but definitely wasn't the way I expected to come out of this journey. All in all, this album is recorded beautiful and presented in a very organic and living way. The music has a breath, its heart beating vibrantly and everything pulsing with life around it. The spirit of Brazil and its Native inhabitants is alive and well through Gismonti. Of course he represents the Western world and its music through both Jazz and European styles, but the importance of the organic and intimate nature of Amazonian music is never lost. Good job Gismonti, and kudos to ECM for supporting the creation and recording of such music. Lots of hidden gems on that label.

Favorite Song: Café / Sapain / Dança Solitária No. 2 / Baião Malandro