Documents from Gilberto Gil's Private Archive

NEW LEE ETo INTERNATIONAL hos STIVE Salient goes to the festival Gilberto Gil Gilberto Gil has been described as Brazil's Bob Dylan. I think he's a lot more artistical- ly compelling and inspiring than Dylan cur rently is. Imprisoned and exiled by a very Gil, one of Brazil's top cultural exports, was appointed Minister of Culture by Brazil's new left-wing government in January 2003 Backed by a top-quality 9-piece band, the 62-year old served up a rousing set at the Queens Wharf Events Centre that really got the crowd going, especially during his superb five song encore From the mellow to the skanking Gil's music is a piquant, invigorating cocktail that blends traditional Brazilian beats, salsa, samba, bossa nova, reggae, folk Cuban jazz, politics and other things, And Gil, in the tradition of the legendary Ibrahim Ferrier of Buena Vista Social Club, has the energy and rhythm that would make any young dubber green with envy. There are almost no politicians - and not so many musicians - who are this hip, stylish, appealing and natural Many try and fail. A lucid example is the Greens' Nandor Tanzcos. He's a well- meaning good guy, but he does some times make himself look very silly and try- hard when he attempts to be cool. His rap- ping on the CD released before last elec tion in an effort to tempt young voters to the Greens is some of the most laughable rap I've ever heard. (Indeed, several 36 Sallent issue four 2004 Greenie mates of mine were convinced it was right-wing satire.) Most Ministers of Culture are suck-up career bureaucrats who know little about culture. A nadir was reached in New Zealand with National's cultural attaché Marie Hasler, who made Kath n Kim's Kath seer sophisticated A Brazilian acquaintance didn't even use his chair once, in Brazil, he tells me, there aren't any seats at any Gil concerts. It would have been better if they didn't have Seats here, the venue itself was more of a downer. As Gil told The Listener 'we did the best we could with that gymnasium The audience wasn't up to the Brazilian standard, either. I saw a couple of anal- retentive conservatives giving shocked looks at people joyously dancing up the front by the stage. If such tiresome types have come, (albeit like the corporate sharks at the Dalai Lama they're rather out of place), they should try and get with the spirit of the occasion. There is a lot of skill to playing a great lating festival play Animal form put it in press materials. The meaning of a dessic can rarely be recovered or revived. It must be recreated, re-interpreted for the times, and re-discovered with an audience. comes alive when it collides with new social, political and intellectual Gil certainly did this with wondences sions of Bob Marley's 'No Woman, No Cry and Antonio Carlos Jobim's The Girl From Ipanemal Gil's passion for his music is infectious, the music is an intoxicating elbur. Abdullah Ibrahim Like Gilberto Gil, Abdullah Ibrahim and his trio was an invigorating charming special concert. Like čilSouth African pianist Ibrahim was a political prisoner and exile He was banished for protesting against apartheid, only able to return home to Cape Town in 1990. Ibrahim was mentored by Thelonius Monk and Duke Ellington Dressed in black, on a stage lit with red light, Ibrahim, bassist Belden Bullock and percussionist George Gray fluently played gorgeous jazz, dassic Ibrahim tracks such as Mannenberg, the fiery, flamboyant anti-apartheid anthem Ibrahim played from memory, his style ranged from minimalist calm to blazing zest and Lisztian flourish. The trio's rapport with each was intuitive and impressive Ibrahim was one of the starts of Lee Hirsch's fine. recen recent documentary Amandla: A Revolution in Four Part Harmony on the importance music played in South Africa's revolution against apartheid. Ibrahim coined the "revolution in four part harmony' phrase and spoke elo- quently of the power of music "Music saved us," he put it with touching feeling With that film and this concert you can see why. By itself, Ibrahim's music is beautiful and striking. Add to its political and social dimensions, and you have something uncommonly resonant, moving and power say that Ibrahim's dignified face a ce and grace tul, thoughtful performance illuminates the troubles and joys of South Africa Foi (Faith) Les Ballets C de La B's lets op Bach, cho- reographed by Alain Platel, was a master- tive, challenging and brilliant piece raw and edgy, inventive and innova Foi is an exploration of timeless, perennial themes: faith - as it points out all people have their prophet" the horrors of war , the insanity of violence and the fundamental importance of compassion Sidi Larbi Cherkaoui, who performed in lets op Bach, choreographs here. His work is set to an effective backdrop of two imposing grey towers. The actor dancers' exceptionally dynamic, energetic perform- ances are contrasted with magnificent 14th century medieval music. As in lets op Boch. this leads to some stunning juxtapositions There is inspired use of 'Somewhere Over The Rainbow: another scene I loved satirised the news media with a weather report on how things are hot in the Middle East. There are some thought-provoking des I had big expectation for For; while it showed the aforementioned qualities of lets op Boch in places, on one viewing it didn't quite come together and was dearly not in the same league. Nonetheless, was well worth seeing Best of the Fest Best in Show this concert was not: it was the lowlight of my festival experience in 2004. That said, the majority of the audi ence I saw it with seemed to enjoy it. I was tired and stressed out, which could explain why I didn't like it then again, isn't comedy supposed to cheer you up? I'm sure most of the performers here are generally good; they proved as much in the which I happily paid to see a few days later Memo to comedians: don't come to funnies about our accent and the weather Wellington and starts cracking the same old Most of the show was insufficiently amus ing the exception being Wellington's own Flight of the Concords. Their mockery of folk music was very funny. (Their show won much acdaim, including a Perrier nomine tion, at last year's Edinburgh Festival) A moderately amusing interlude was pro vided by a comedian masquerading as terrible poet. He should see some of the execrable stuff which people demand that Salient publish. Alexander Bisley saliente four 200437