In Guizado, the musician searches (and thinks) his own stamp on a mixture of harmonic inks of his instrument with the textures found in experiments with several electronic paraphernalia. If, on one hand, many of the beats are made on analog synthesizers and gameboy, the recordings of “Punx” were all made on analog tape, and the clever combination of retro and futuristic atmospheres gives strength to the work. The trumpet also went through some filters and overdubs, creating climates more congested, harmonic collisions that leave no listener injured, but stunned. On the way the trumpet is played, the reference to Miles Davis can be heard – much more because of the spirit of transgression than by an alleged virtuosity, let it be said.
But Guizado is not jazz. Nor is rock or hip-hop – it is, indeed, an original collage of all that and a little more. Although pushed by a pulse as almost robotic, electronic, the pace is always guided by the trance of African ancestry. Besides the creative engine of Gui Mendonça, the Guizado has other key pieces.
Curumin is the drummer on most tracks; in four of them, who beats the skins is tireless Mauricio Takara (Hurtmold, Esmeril Trio, etc...); still on the rhythm section, special feature of percussionist Mauricio Alves (Mestre Ambrósio) in two songs; Régis Damasceno and Ryan Batista, guitarist and bassist of the band Cidadão Instigado, complete the machinery. With this ensemble, the band fills the gaps in the combination of horns with digital beats and gives us an intriguing sculpture made of scrap sound. It is the soundtrack that was missing in order to decipher, once and for all, the soul of Babel / Babylon. Ramiro Zwetsch September / 2007 http://www.myspace.com/guizado http://www.guizado.com.br Read more on Last.fm.
User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
show me more