Gil e Jorge | 
| Artists: Gilberto Gil, Jorge Ben
Label: Polygram Records
List Price: $14.98
Buy New: $9.09
You Save: $5.89 (39%)
New (29) Used (9) from $9.09
Rating:  16 reviews
Sales Rank: 97764
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 512067
UPC: 731451206726
EAN: 0731451206726
ASIN: B0000046KT
Release Date: May 19, 1992
Availability: Usually ships in 1-2 business days
Shipping: Expedited shipping available
Shipping: International shipping available
Condition: Sealed. Shipped first class, airmail overseas.
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| Tracks:
| • | Meu Glorioso Sao Cristovao | | • | Nega | | • | Jurubeba | | • | Quem Mandou (Pe Na Estrada) | | • | Taj Mahal | | • | Morre O Burro, Fica O Homen | | • | Essa E Pra Tocar No Radio | | • | Filhos De Gandhi | | • | Sarro |
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| Editorial Reviews:
Album Description
Recorded with only two acoustic guitars and a percussionist for accompaniment.
Album Details
Recorded with Only Two Acoustic Guitars and a Percussionist for Accompaniment.
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| Customer Reviews: Read 11 more reviews...
 Why these recordings are so praised??? April 14, 2003
paulo prinzio (Sao Paulo Brazil)
8 out of 16 found this review helpful
Ever since I became a huge fan of Gil and Jorge Benjor back in the 80's, I read about in several articles that this 1975 was supposed to be one of theirs most brilliant records. When it was finnally released in cd in 1993, I got mine. Well, it's funny how music journalists have the power to create these myths. In my humble opinion this is the most boring record of their entire carreer. A sequence of endless jams, and let's face it, they are great pop composers and creators, but certanlly not jazz musicians. The tracks keep going on and on above the same three of four chords that can drive you crazy, sometimes for over 11 minutes (!!!), and at every new round they add a number of new vocalizes and little guitars solos, and once again I must say: eventhou they're great rithym guitar players, what awfull soilists... almost everysong here can be found in a better, more formal recording. Unfortunately some of them are out of print (hey, Universal Music Brasil,wake up!!!)
Try any other record from these artists from the same period (Africa Brasil/Jorge Ben/1976, Refazenda/Gil/1975, Refavela/Gil/1977, Expresso 2222/Gil/1972, etc.) and you will find great records with great arrangements and well-structured and well-harmonized songs. Short songs by the way.
...And please, no more senseless myths...
 5 stars December 2, 2005
Matthew Sutton (washington dc)
7 out of 7 found this review helpful
For two musicians to sit down and record this without intensive practice in one night is incredible. Their synergy must be heard to be believed. It is something of an extended jam--the tracks (most Ben's I believe) often run 10min or more, and they definitely feel expansive: allowing the playing itself to actually dictate the length of the songs. That doesn't bother me to the extent it might bother others who are more accustomed to hearing Gil and Ben's usually concisely written 3-and-half-minute pop-oriented songs.
The sets usually start out loose and a little uncoordinated, slowly getting tighter, until they are both furiously locked in at the finish. If you like Fela you'll appreciate this.
Also some of the greatest bass lines I have ever heard are here. Gil here is great, though his tendency to get Bobby McFerrinesque, endearing to some including myself, will probably alienate many; Ben is simply perfect, providing the grooves.
Controversial, if anything... March 21, 2006
Salty Saltillo (from the road, USA)
7 out of 7 found this review helpful
Reading the reviews it is clear that one either loves or hates this disc. As a rational, sane judge of all things good, I obviously fall on the side of those who find this record to be brilliant. I read somewhere (maybe on the liner notes) that this record was recorded in 12 hours. As a jam session it is one of a kind for a couple of reasons. First, the playing is good. On a few tracks it is great. Somehow, in the 21st century, people have become so used to hearing records that have been over-produced and tweaked at the sound boards (Even Kiss' famous Alive record was "enhanced" in the studio after recording)that they forget what real live human beings playing real instruments in real time sounds like. Of course you get screw ups. But even the greatest musicians playing and conducting in the greatest symphonies in the world, performing the most difficult music in the world, are bound to play imperfectly, either too flat, or with too much passion, or with the wrong passion, or too technically, or not technically enough. This record is not a technically perfect record. But it has passion, feeling, and is a lot of fun.
there is one thing that is very quirky about this record that you can hear if you pay attention to it. Apparently Jorge Ben was in a very different mood from Gilberto Gil that day and each had a very different idea about what they wanted the recordings to sound like, and so that tension runs through every song. In the same year this record was recorded, Paulo Leminski published "Catatau", one of the most difficult, obscure books ever written in the Portuguese language. In "Catatau" there is a character named "Occam" who, although a reference to Ockham, is according to Leminski's notes derived from Afro Brazilian mythology also (maybe Ogum?): he is the monster of the irrational that disrupts and disturbs order and expectations. For me, Gilberto Gil on this record is Occam. Jorge Ben plays very tame, in tune, very orderly, and Gilberto Gil goes absolutely insane, doing everything he can to disrupt the order and focus that Jorge Ben insists on following, turning lyrics upside down, singing out of tune on purpose, turning his voice into a noise box, making odd sounds in the microphone in imitation of Jorge's guitar strumming, etc.
And as a listener it is wonderful to focus on that tension and musical push-and-shove and see how it plays out in song after song. The struggle between order and chaos reaches its high point in Taj Mahal. I cannot listen to the studio version of taj Mahal from Jorge Ben any more because it sounds so flat and lifeless after hearing the incredible performance on this record. If you thought Jorge Ben's Taj Mahal was a vibrant song before this record, it is odd to realize that Jorge Ben needed Gilberto Gil's obnoxious studio antics to breathe life into the song.
Clearly some listeners approached this record with the wrong frame of mind, or misunderstood much of it, or were simply obtuse enough to be insensitive to the order-disorder games that these two masters of Brazilian 70s pop were playing in the studio the day this record was recorded. For me, this record is golden, a gem now 30 years old and still alive.
Two genious with acoustic guitars in their best moment February 2, 1999
5 out of 5 found this review helpful
Two acoustic guitars, one bassist and percussion give us a moment of fantastic talent and brillantism. Gilberto Gil and Jorge Ben are two of the most important musician and singers in Brazil, and, why not, of the whole world. Buy it and do that trip.
Brilliant January 8, 2004
Flavio Goldman (Sao Paulo, Brazil)
5 out of 5 found this review helpful
Gil is not inspired????? There's nothing but inspiration in the whole record. To say that Gil is out of tune is equal to say that Dave Brubeck played out of tune in "Time Out"!!! Gil and Jorge are one of the most perfect duo's that ever played. Songs like "Meu glorioso Sao Cristovao" or "Jurubeba" are the real brazilian classics.. As someone wrote, how rate it less than 5 stars?
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