Artist: Egberto Gismonti Album: Sol do Meio Dia

Year: 1978
Duration: 50:42

A Critical Review of Egberto Gismonti's Sol do Meio Dia Album

Egberto Gismonti is a highly talented Brazilian composer and multi-instrumentalist whose works incorporate elements of jazz, classical, and traditional Brazilian music. His 1977 release Sol do Meio Dia is a seminal album that represents a pinnacle in his artistic career. In this blog post, we delve deep into the album and explore the background of the artist, the genre of the album, the best songs, the most innovative parts, and a critical review of the album.

Egberto Gismonti was born in Rio de Janeiro in 1947 and showed his aptitude for music at a young age. He began his formal music training on the piano and later expanded to the guitar, flute, and other instruments. He has released over 70 albums spanning his career, but Sol do Meio Dia stands out. It was recorded in a period of political turmoil in Brazil, and the album reflects Gismonti's reflections on his country's social issues and musical heritage.

The album is primarily categorized as jazz-fusion with elements of Brazilian folk and classical music. Gismonti seamlessly blends rhythms from different regions of Brazil with sophisticated harmonic progressions and intricate melodies. The music is complex yet inviting with a cinematic quality that transports the listener on an immersive journey. The album features Gismonti on guitar and piano, Nana Vasconcelos on percussion, and Zeca Assumpcao on bass.

The standout tracks on the album are numerous, but a few stand out. Loro is a beautiful and virtuosic duet between Gismonti on guitar and Vasconcelos on percussion. Palhaco features Gismonti's delicate piano playing with an ethereal backdrop of voices and percussion. Frevo is a high-energy piece that showcases Gismonti's command of traditional Brazilian rhythms and intricate guitar work.

One of the most innovative aspects of Sol do Meio Dia is Gismonti's use of unconventional timbres and textures. He creates sonic landscapes featuring a variety of percussion instruments, vocalizations, and electronic manipulations. This experimentation adds an avant-garde dimension to the otherwise jazz-fusion style and makes the album stand out.

However, the album is not without criticism. Some listeners may find the music too cerebral and lacking in emotional depth. The album's technical brilliance and intellectual concepts may overshadow its human elements. Furthermore, the recording quality of the original vinyl release may not hold up to modern standards.

In conclusion, Sol do Meio Dia is a remarkable album that showcases Egberto Gismonti's virtuosity and musical innovation. It is a unique blend of Brazilian folk, jazz, and classical music that stands the test of time. While some listeners may find it too intellectual or cold, others will appreciate its technical brilliance and depth. Regardless of one's opinion, it is a must-hear album for any serious listener of Brazilian or jazz-fusion music.

In conclusion, Sol do Meio Dia is a remarkable album that showcases Egberto Gismonti's virtuosity and musical innovation. It is a unique blend of Brazilian folk, jazz, and classical music that stands the test of time. While some listeners may find it too intellectual or cold, others will appreciate its technical brilliance and depth. Regardless of one's opinion, it is a must-hear album for any serious listener of Brazilian or jazz-fusion music.