O Sol de Oslo [1998]

Performer: Gilberto Gil
Artist: Marlui Miranda; Trilok Gurtu
Producer: Rodolfo Stroeter
Distributor: WEA (Distributor)

Notes: Personnel includes: Gilberto Gil, Marlui Miranda (vocals, acoustic guitar); Trilok Gurtu (vocals, percussion); Celso Fonseca (guitar); Toninho Ferragutti (accordion); Bugge Wesseltoft (piano, keyboards); Rodolfo Stroeter (acoustic & electric basses); Zezinho Pitoco (drums, zabumba); Guelo (percussion). Engineers: Jan Eric Kongshaug, Alberto Ranellucci. Principally recorded at Rainbow Studio, Oslo, Norway in November 1994. Includes liner notes by Hermano Vianna. O SOL DE OSLO was nominated for the 2000 Latin Grammy Award for Best Musica Popular Brasileira Album. Personnel: Gilberto Gil (vocals, guitar, viola); Marlui Miranda (vocals, guitar, viola); Trilok Gurtu (vocals, percussion); Celso Fonseca (guitar); Toninho Ferragutti (accordion); Bugge Wesseltoft (piano, keyboards); Lelo Nazario (keyboards); Rodolfo Stroeter (acoustic bass, electric bass); Jorginho Gomes (drums, percussion); Zezinho Pitoco (drums). Audio Mixer: Alberto Ranellucci. Recording information: Estudio Mosh (11/1994-01/1998); Noruega (11/1994-01/1998); Rainbow Studio, Oslo, Norway (11/1994-01/1998); Rainbow Studios, Oslo, Norway (11/1994-01/1998). Directors: Gilberto Gil; Rodolfo Stroeter. Photographers: Gal Oppido; Marcilio Godoi; CF Wesenberg. Unknown Contributor Role: Jan Erik Kongshaug. In his extensive discography, Gilberto Gil has explored almost every possible shade of pop music. In this album, produced by the independent label Pau Brasil (Gil is a WEA artist), he felt safe to shamelessly go back to earlier days, where his wonderful melodies were free of the artist's anxiety for fame and success. This album is a delicate collection of acoustic grooves (with a couple of electric renditions), with several different world references, ranging from folkloric chants (the researcher/singer Marlui Miranda is instrumental here), northeastern coco (the folkloric "Tat� Engenho Novo" is hot, swinging, and thrilling), cantigas ("Mana," folklore), xote-ska ("Xote"), new age ("Ka�"), modern ciranda ("Ciranda," beautiful, dissonant melody by Moacir Santos), rap ("Rep," excellent deconstruction of that style by the smart percussion of Trilok Gurtu), xaxado ("Onde O Xaxado T�," faithful acoustic rendition), and the hot Olodum rhythm ("Oslodum"). There is even a traditional coco, "17 Na Corrente," which may be a hit in the dance clubs in its funk rendition with drum machines and brass attacks. Pay attention to the beautiful jazz-baiao solo in "Eu Te Dei Meu An�." Joined by excellent musicians Marlui Miranda, Bugge Wesseltoft, Trilok Gurtu, and Toninho Ferragutti, Gilberto Gil makes justice to his name with Sol de Oslo, which stands several notches above the average pop record. ~ Alvaro Neder This 1998 Gilberto Gil recording is rather different from QUANTA and his other '90s releases. With SOL DE OSLO, Gil attempts to represent some of the culturally diverse variations of the music of Brazil's Northeast, known as the sertao (backlands.) He brings with him the lovely accordion playing of Toninho Ferragutti, as well as a tabla player and various other instruments representing a cross-cultural, trans-global sound. As if this were not enough, Gil and his musicians also collect traditional songs from all over Brazil to be performed alongside originals written by Gil and the producer of SOL DE OSLO, Rodolfo Stroeter. Gil's voice is as beautiful and strong as always. The odd assortment of instruments is used quite tastefully, and guest vocalist Marlui Mirandi--who has worked with indigenous tribes of the Amazon--shines in a manner not heard on her own records. SOL DE OSLO shows that even after 30 years, Gilberto Gil was still one of the most inventive figures in Brazilian music.

Dirty Linen (4-5/99, p.69) - "...a musically diverse and enjoyable recording....The surprises reveal less about the musicians' geographic origins and more about the amazing musical terrain open to exploration by all comers."

With a career that dates back to the early 1960s, Gilberto Gil is one of the major innovators of Brazilian pop. A founder of the Tropicalia movement, he has embraced a huge variety of influences, from traditional regional styles of the Brazilian Northeast to jazz, reggae, disco, rock, and African music. Romantic, political, and downright funky, Gil always has an eye on both the past and the future.

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