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    Gilles Peterson

    Gilles Peterson in Brazil

    Gilles Peterson - Gilles Peterson in Brazil

    2004

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    All Music Guide Review

    London-based DJ Gilles Peterson is a favorite on the acid jazz rave-up scene, in England and internationally. His deep and wide record collection reflects a love for American jazz and soul, but also Brazilian music going back to the mid-'60s up to present-day beat, drum'n'bass, and chill. This double-CD set presents a full side of unaltered original tracks from the post-Stan Getz/João Gilberto/Antonio Carlos Jobim bossa nova craze, and another full disc of current-day mix tracks that expand the horizons of Brazilian music into a new age with electronics, turntable or sampled effects, overdubbed vocals, and added-on instrumental solos. Where the pulse of the music is basically left unaffected, it's the sounds swirling around the music -- whether acoustic or technologically enhanced -- that make all of Peterson's choices compelling, eminently listenable, and very danceable. The Classico first disc showcases a handful of hits most lovers of Brazilian pop music should know. Not their biggest of chart-toppers, "Zanzibar" by Sergio Mendes & Brasil '77 is a classic Edú Lobo song, filled with scat vocals, activated piano lines, and pure joy. Composed by Moacir Santos, "Nana" by Os Cobras, has the distinct "Song for My Father" bassline and flute lead so much a part of Brazilian jazz, while "Imprevisto," as performed by Bossa Três, is even more jazzy, with a drum'n'percussion jam and a bop framework. Djavan's "Serrado" is a hard samba, not so much the typical pop tune he is known for; the Golden Boys' "Berimbau," with its string, large horn, and twangy guitar, is more like a movie themel; "Nem Vem Que Nao Tem" by Wilson Simonal is a flat-out party tune with blaring horns, flailing tambourine, or spoken word encouragement; and Tim Maia's "No Caminho Do Bem" assimilates a light disco beat. From the Da Hora sides, you get wilder tracks with electronic effects that bring the Brazilian samba or bossa nova sounds into the modern day Pro-Tools world. Marcos Valle's "Parabens" has the beat level increased with some quick vocal inserts, the drum'n'bass-based "Malandragem" as interpreted by Drumagick is loaded with bubbling, seismic horns and the familiar cuica, while the Otto/Edu K remix of "Bob" is a chill looped track with the vocals of the always-alluring Bebel Gilberto, and "Green Gold" by Spiritual South is wrapped in electronic vocals, turntable samples, industrial sounds, and a held tension that keeps you spellbound. For lovers of soccer/football, "Futebol de Bar" by Cesar Mariano and Cia in a Heavy Usker mix, might be familiar in its piano-driven, heavy, and continuously active motion, while those who remember the Bar-Kays may recognize their sampled "Anticipation" in the throes of "Moments of Lust," an ultimate bass'n'drum chill song from DJ Marky, XRS, and Vikter Duplaix. Milton Nascimento's "Escravos de Jo" is the most outstanding track on the second CD, as Joaquin Claussell and Kerri Chandler go on and on in a trumpet-dominant overdub that is delicious from start to finish, with a seven-minute workout with bass that might recall a Dizzy Gillespie meets latter-period Miles Davis mode. Drumagick returns to redo "Beyond the Rains," another retro-fitted dance-funk with the suspended anticipation and Farfisa organ sound popular with younger audiences. An outstanding collection which also scratches the potential surface for possible further compilations, this highly recommended recording should easily please both purist and progressive audiences, encouraging you to discover more in the wellspring of music Peterson truly loves and has deep understanding of. ~ Michael G. Nastos, Rovi

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