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Biography
Gil was inspired by music at a young age and grew up listening to local forró music in his hometown. Later Gil began learning the drums and trumpet, and at age ten his mother bought an accordion for him and sent him to a music school in Salvador. While learning how to play the accordion, Gil became very interested in the work of the Brazilian accordionist Luiz Gonzaga. Gil was also influenced by the musician Dorival Caymmi, whose sound influenced Gil’s samba style. By high school Gil was playing accordion and vibraphone in a band called Os Desafinados. After the group disbanded two years after their formation Gil would finally settle on the guitar as his main instrument and start performing bossa nova music.
While attending university, Gil met the Brazilian singer/songwriter Caetano Veloso, who he would collaborate with on albums as well as live performances. In 1965 Gil gained recognition when he released his first hit single “Louvação”, which was later released on his 1967 debut album of the same name. In 1968 Gil released a self-titled album as well as a compilation album titled “Tropicália ou Panis et Circencis”. The compilation album consisted of many notable artists including Caetano Veloso, Tom Ze, Os Mutantes, and Gal Costa. This compilation album was a very significant landmark in the history of Brazilian music and was considered a formative album of the Tropicália genre. The album was highly inspired by The Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band” and contained sounds of the popular and the avant-garde.
Due to Gil’s innovative music, which the Brazilian government considered politically dangerous, he was forced to relocate to London, UK in 1969. While in London he was exposed to a variety of music ranging from reggae to British rock. He was strongly engaged in the London rock scene and would perform with acts such as Yes, Pink Floyd, and the Incredible String Band.
In 1972 Gil would move back to Brazil and would release a consistent amount of albums throughout the ‘70s. The same year he moved back to Brazil he released the album “Expresso 2222” and went on a tour of the United States. Gil also released several collaboration albums in the ‘70s that have been recognized by “Rolling Stone” as some of the best Brazilian albums in history. One of those albums was the 1975 album titled “Gil e Jorge”, which showed Gil collaborating with the Brazilian pop artist Jorge Ben. In 1976 Gil Collaborated with Caetano Veloso, Maria Bethania, and Gal Costa on the album “Doces Bárbaros”, which was also the subject of a documentary. Gil also became interested in the Afro-Brazilian afoxe music and joined the Filhos de Gandhi performance group. He moved to Africa in the late ‘70s and collaborated with Jimmy Cliff to record a cover of the song “No Woman, No Cry”. This cover was very influential in introducing reggae music to Brazil.
Gil has been looked at as one of the most influential Brazilian musicians of all time and has many awards to prove it. His 1998 album “Quanta” won a Grammy Award for Best World Music Album and his 2005 album “Eletracustico” won him a Grammy Award for Best Contemporary World Music Album. He has also been awarded the Legion of Honour by the French Government and the Polar Music Prize by Carl XVI Gustaf of Sweden.
Live reviews
An indisputable hero of Brazilian popular music and key player, alongside Caetano Veloso, of the Tropicalia movement of the 1960s (Tropicalia devotees include David Byrne and Beck), Gil’s music incorporates Rock, various Brazilian genres including Samba, African music, and Reggae, and in Brazil at least, has achieved popularity across generations from the 60s to the present day. Gil’s set at the Carnegie Hall relied heavily on Forró, a folk music of the Northeast of Brazil, which is also where Gil hails from. Forró is a rhythmic, energetic kind of dance music, usually kicked along with accordion and some advanced triangle playing. The band, consisting of these instruments plus percussion, rabeca (a Brazilian fiddle), in addition to bass and two electric guitars, played many of Gonzaga’s pieces (Luiz Gonzaga was the musician credited with introducing Forró to the rest of Brazil) with a fresh twist, along with some of Gil’s own cuts from some of his more famous albums (he has released in excess of 50). among them “Andar Com Fé”, “Aquele Abraço”, “Maracatú Atómico”, along with a couple of Bob Marley covers. Gil was warm, conversational, and funny, telling us stories about how his songs came about, or explaining a bit about different Brazilian rhythms (of which there are many). The audience, which featured a strong Brazilian contingent, adored him, and midway through were already dancing in the aisles, where they stayed until the very end.
philsomervell
Whether you are a fan of Latin music or not, you cannot deny the importance of Brazilian musician Gilberto Passos Gil Moreira. A career which is now in its fifth decade, the singer/songwriter is known for his musical innovation and political commitment having served as Brazil's Minister of Culture between 2003 and 2008.
Now back on the road touring to fans old and new, the man shows no sign of slowing down in his old age and come onto stage with such a fantastic amount of energy and life. It simply exudes from him and infects the audience who then become so much more engaged and in tune with the show. They cheer on Gil as he performs highly skilled instrumental bridges with his trusty guitar before smiling broadly at the fanatic reaction. He introduces the accompanying musicians one by one to individual rounds of applause from the large crowds before they conclude the enjoyable show with a slick rendition of 'Força Estranha'.
sean-ward
Die Kulisse der Staatsoper ist sehr schön. Die Akustik atemberaubend. Für die Ränge in der Galerie 66€ zu verlangen, wo man nicht einmal eine Sicht auf die Bühne hat, ist gelinde gesagt eine Frechheit. Und zwar deswegen, weil man einen Monitor vor sich hat.... Es ist für mich doppelt scheisse, denn mein letztes Ko szert mit diesem Künstler war in einem sehr ähnlichen Setting und zwar im Stadttheater von Mlaga vor ungefähr 15 Jahren, aber dort hatte man halt von Überall die Chance die Bühne zu sehen....
Oschttiroler
Show was amazing. Gilberto Gil as a musician is on of the my favourite from Brasil with such a rich and different influences in his music style. Love his last album Ok ok ok. Guest Roberta Sa compliment all that with her beautiful voice. The only less good thing is the place where it was a concert. Staatsoper Vienna Hall was not a good choice for this type of concerts. I suggest open spaces during the summer concerts and also some space for standing if it's not open space. All rhe rest was amazing.
ChakaMaka
An excellent concert at beautiful Lyon's Auditorium. It was the first concert from a series of "Viena's jazz" at Lyon's Auditorium. Best choice ever. It was sensible, animated, incredible. He played the new and the olds songs. He's a very sensible artist and he transmitted his passion by his music. The only negative point is the fact it was an auditorium, with chairs. At many moments we really would like to get up and dance. Even if it's was an unplugged concert. But, hey, it was good anyway! :)
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