Customer Reviews

Sanfona

5 star:		(6)
4 star:		(0)
3 star:		(0)
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1 star:		(0)

 

 

First off, "World Jazz" is a different animal than "World Beat." The former might also be called "Jazz Beat." The difference is that there is an authentic jazz sensibility and idiom at work in World Jazz, but not usually in World Beat. There is also such a thing as fake world jazz, which is an attempt to evoke and blend some kind of true world folk music and/or some real jazz esthetic but to miss on one or both. Examples of the latter are the efforts of Gil Goldstein and (sometimes) Al DiMeola.

Anyhow, SANFONA is the real deal on both counts--with genuine Brazilian folk grounding (Gismonte reportedly spent a couple of years in Brazil's rain forest absorbing the local music) and an authentic jazz voice and sensibility.

I cannot tell you how much I've enjoyed this artist and especially this album over the years. I believe it holds a similar relation to world jazz that the Byrds' SWEETHEART OF THE RODEO holds to country rock. Yes, I know Dizzy was doing his Afro/Cuban thing way back in the fifties, but Gismonte literally redefined and transformed World Jazz with this release (as well as with DANCA DAS CABECAS and SOL DO MEIO DIA). I think it's because he entered so deeply into the folk music of Brazil, and his years of study and emersion in the culture yielded such wonderful, exotic, yet accessible fruit as is found on this album.

For my money, "Maracatu," based on a Brazilian dance form (as are most of the tunes on the album), is one of the high points in the history of jazz, especially the bridge. The whole album is embued with a sensuousness and mystery, as well as a warmth and vitality, that is seldom found in jazz performed at such a high level. If you have even the slightest interest in world music, jazz, or Brazilian music, make sure you pick up on this glorious album.

I'm a brazilian, all right! But I had to buy the best Egberto Gismonti CD from the U.S.A., "Sanfona". The record was made in Oslo, Norway. This CD contains the essence of jazz, plus the essence of brazilian music. Nene, on drums shows one of his best performances (I'm a drummer, that's why I'm saying that). Listen to "10 anos", and you'll feel the jazz. Listen to "Lôro", and you'll fell in Brazil. If you love music without lyrics, you should get this album. And if you love acoustic guitars, you should pay special attention for the second CD of this album, "Sanfona Solo". His virtuosis is amazing, as in all instruments he play. So, if you wanna something that means Brazilian Jazz, pick this one.

Gustavo Moreira

This is a fantastic recording of Egberto's music. Ranging from abstract "free" jazz to hothouse Brazilian samba inspired rhythms to meditative guitar ruminations this CD is astounding for the level of playing and interplay from all the musicians, the quality of the compositions and freshness of concept. The quartet side in particular stands out. The four musicians play with white-hot intensity on Gismonti's challenging pieces with nary a cliche in sight. It's hard to know what aspect of EG to be most impressed with: his astounding guitar playing, his virtuostic and fresh approach to the piano or his unique and powerful compositions. This is one of my all time favorite Jazz (if you can call it that!) recordings and I urge you to get it.
Highest Recommendation!

I heard this album for the first time in 1989 while in Germany, and it is one of maybe a handful of occasions I knew I was listening to something timeless and special from the first note. Over the intervening 11 years, my opinion has not changed. Forget labels - modern jazz, world jazz, classic jazz, Brazilian jazz. This is a jazz masterpiece, period. I consider no record collection to be complete without it.

Many other reviewers here have covered this territory already, so I will just add one thing I think goes unnoticed about this album: the fine work of the rhythm section. Gismonti's and Senise's playing, while brilliant, does get a bit ethereal in places. And were it not for the rock-solid backing of percussionist Nene and bassist Zeca Assumpcao, you get the feeling things could have started spinning into a mushy ECM oblivion (you know what I mean).

One reviewer here said this was the best jazz album ever recorded. I wouldn't go that far; I simply have too many favorites to pick just one. But Sanfona would be among the group I would be choosing from among.

I love all types of music and this an all time favorite. If you open minded, and want to hear original, heartfelt, and intellegent music, without any pretensions, this is it. The compositions, performance and feeling are all perfect on this one.
One thing to add: There are really two different parts to this CD. One is a quartet with Gismonti on mostly piano and some guitar. (The one with guitar is incredible.) And another is Gismonti going solo on (acoustic) guitar or an accordion-like "Indian Organ". The solo guitar pieces are as great as any I have heard.

Well, almost three years have passed since I wrote a review about "Sanfona" and I didn't change my mind. It's the best jazz album ever. Recorded in Oslo, and printed in USA, this brazilian mix Classic with Modern Jazz. I was wondering if the two folks that bought this album after reading my review could tell me what's their oppinion...