A tribute to Egberto Gismonti, the renowned Brazilian composer who provided the material for ten of the eleven tracks.
The music is built upon the core trio of Harrison, Caribé and Brown with extra dimensions and colour supplied on various tracks by alto saxist Laura Macdonald (Palhaço, Meninas, O Sonho); vocalist Rachel Lightbody (Lôro, Bianca, Illuminado); Cellist Su-A Lee (Meninas, Sete Aneis) and Fraser Fifield who blows a low D whistle on Bianca. Edmundo Carneiro not only provides authentic Latin percussion on seven of the tracks but also combines with Harrison to compose Transition.
On Karatê Harrison switches from piano to melodica and shows the same dexterity as he does on a conventional keyboard.
In the blurb Harrison is quoted as saying that he decided to explore Gismonti's music because it offered so much more than just sambas and bossas. Sometimes there's a pastoral feeling about the music suggesting it's siesta time. At other times the siesta becomes the fiesta and nobody can party like Brazilians do at a carnival in Rio (or so I've been told!).
Not only that but there's also just a suggestion of Harrison's own Scottish heritage and the great man himself - Egberto Gismonti - upon hearing the album said: "...it has humour, has grace, has freedom to play.".
I'll second that Lance.
Release date: Sept. 5.
Ano Zero; Palhaço; Transition; Lôro; Meninas; Karatê; Bianca; O Sonho; Illuminado; Sete Aneis; A Fala Da Paixão
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