Recorded the same year as Gil e Jorge, his brilliant collaboration with Jorge Ben, Refazenda keeps up the pace, but in a completely different way. Instead of the acoustic Brazilian folk of Gil e Jorge, Gil focuses on breezy pop. "Jeca Total," "Ê, Povo, Ê," "Tenho Sede," and the title track are dominated by flute, accordion, horns, and gentle strings. Gil is in excellent voice, whether he's delivering a driving song like "Essa é Pra Tocar No Rádio" or more intimate ballads like the last two tracks, "Lamento Sertanejo" and "Meditação." Though "Pai e Mãe" and a few other tracks are slightly reminiscent of the Gil e Jorge LP, Gil reasserts himself here as the pop star whom all of Brazil had expected him to be.
One of the most significant arrangers in jazz history, Gil Evans' three album-length collaborations with Miles Davis (Miles Ahead, Porgy and Bess, and Sketches of Spain) are all considered classics.
A previously unreleased live set recorded at London’s legendary Town and Country club and available for the first time on this two CD set. By the late 80s years of substance abuse had left Gil Scott-Heron rotten-toothed and out of it a lot of the time. In 1987 he missed a gig at London's Town & Country Club completely, turning up long after the venue had shut. The T&CC stuck with him though, booking him again in 1988 and hoping for the best. By then he'd gained a new manager, Freddie Cousaert, who had been responsible for turning the career of Marvin Gaye round in the early 80s, getting him off cocaine and back into the studio.
THE COMPLETE COLUMBIA STUDIO RECORDINGS compiles all of Miles Davis' collaborations with composer/arranger Gil Evans. Included are the original and alternate versions of the four albums that Davis and Evans made together–MILES AHEAD, PORGY AND BESS, SKETCHES OF SPAIN and QUIET NIGHTS–as well as various outtakes and unreleased tracks. More than half of the material is previously unreleased. THE COMPLETE COLUMBIA STUDIO RECORDINGS won 1997 Grammy Awards for Best Historical Album, Best Album Notes (by George Avakian, Bob Belden, Bill Kirchner and Phil Schaap), and Best Recording Package - Boxed.
As on Caetano Veloso's album from the same year, Gilberto Gil does not sound happy away from his homeland. Recorded in London, the eight songs on his final self-titled album are mostly blues and introspective, downbeat pop songs. Steve Winwood's "Can't Find My Way Home" is an inspired choice, delivered with a crushing sentimentality rarely found in other versions. Gil also reprises "Volks, Volkswagen Blues" from his 1969 LP. The effect isn't quite as doom-laden as Veloso's work, but Gil is definitely homesick, as the touching "Nêga (Photograph Blues)" shows. [This CD reisssue includes three bonus tracks: a live version of "Can't Find My Way Home" along with "Up from the Skies" and "Sgt. Pepper's Lonely Hearts Club Band."]
Acoustic MTV is a live album by Gilberto Gil, released in 1994 as part of the MTV Acoustic series. Between the tracks are old compositions of the musician and novelties. For being one of the first in the series, produced by MTV Brazil, did not have on the cover, the logo of the broadcaster or the symbol of 'Acoustic MTV', since it followed the pattern of the North American series of 'MTV Unplugged'. Where he brought only the artist in question, in the classic image, stool and guitar, with the other musicians in the background, reading only 'Gilberto Gil Unplugged'.
Gil Shaham es uno de los más renombradas luminarias del violín de nuestro siglo y en este cd, avalado por Deutsche Garammophon, nos entrega una selección de romanzas y hermosas partituras para el violín acompañada por la excelente Orphues Chamber Orchestra (que trabajan sin director) y acompañan de manera maravillosa a este gran solista.
On May 19, 1961, Miles Davis was showcased at a Carnegie Hall concert, performing with his quintet of the time (tenor saxophonist Hank Mobley, pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb) and, for the first time in public, the Gil Evans Orchestra. Although thought of by some later on as being in an off period since he was between innovations, Miles' trumpet chops were actually in prime form during 1961-63, as he shows throughout the date. All of the music on this 1998 two-CD set has been out before, either on the original LP of the same name or on the later album More Music From the Legendary Carnegie Hall Concert, but this is the first time that the two sets have been reproduced in their original order.
Between harsh criticism (due to the retro opportunistic use of Tropicália), and sectarian defense, Tropicália 2 yielded a Caetano Veloso/Gilberto Gil tour through E.U.A. and Europe one year after this release. The reference to Tropicália was used as a safe-conduct for the duo's incursions in electronics, axé music (the contemporary and pragmatic sound of Bahia) and other commercial exploitation – since under Tropicália everything goes (or used to go, some 30 years ago). The album opens with "Haiti," a dry percussive electronic pattern over which Caetano and Gil speak verses dealing with racism; "Cinema Novo" is a beautiful samba, whose lyrics "explain" and greet the Brazilian cinema movement which gained the world. "Nossa Gente" brings the percussive sounds of axé music together with funk brass attacks.