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Eddie Daniels Heart of Brazil:
A Tribute to Egberto Gismonti


Paying tribute to the world-renowned Brazilian composer and multi-instrumentalist, Egberto Gismonti. Heart of Brazil features Daniels with the top-shelf trio of pianist Josh Nelson, bassist Kevin Axt and drummer Mauricio Zottarelli, plus the Grammy Award-winning Harlem Quartet. With new arrangements by Ted Nash, Kuno Schmid and Josh Nelson, Heart of Brazil collects songs from Gismonti’s classic early 1970s albums on Odeon/EMI Records, such as his self-titled 1973 album, Água & Vinho (1972), Corações Futuristas (1976), Carmo (1977) and others. The album was produced by Resonance president George Klabin, who has long felt Gismonti’s work has been under-appreciated and deserving of wider recognition. Gismonti says in his interview with acclaimed author James Gavin, “When I heard the record I felt immense joy…The repertoire spans a rich period of my composing. What a great present for my seventy years of life.”

 



   
 




Eddie Daniels - Clarinet
Josh Nelson - Piano
Mauricio Zottarelli - Drums
Kevin Axt - Bass

The Harlem Quartet:
Ilmar Gavilan - Violin
Melissa White - Violin
Jaime Amador - Viola
Felix Umansky - Cello
   
   
                                                                     Egberto Gismonti
A virtuoso on both guitar and piano, Egberto Gismonti has created a body of work that stand at the crossroads of his native Brazil’s folk tradition and the world of classical music, in a way which echoes his predecessor Heitor Villa-Lobos. He is also a masterful improviser. Gismonti has been described as approaching the fretboard as though it were a keyboard, often creating the impression of more than one player. His blazing technique is capable of summoning up an almost orchestral palette of colours.

Gismonti was born into a musical family in Carmo (Rio de Janeiro state) in 1947. After first studying the piano, he took up the guitar in his teens. He went on to study composition, orchestration and analysis in Paris under Webern’s pupil, Jean Barraqué, and the legendary Nadia Boulanger. On his last day as Boulanger’s student, she told him to “be a little irresponsible in [his] music, just trust and break the rules”. A critical stage in his development was his encounter with the indigenous peoples of the Amazon rain forest and their music: his researches, and human encounters, changed his view of the expressive possibilities of musical language and continue to fertilise his work to this day.

 
 
 
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