Gilberto Gil's Discography: 'All albums have a biography' - Part 2

In 1975, Gilberto Gil was experimenting with the various shows he did in Brazil, including on universities, and recordings that were only released years later. It was a moment of reunion with himself, of reflection, of restoration of his being.

It was in that same year that he, almost by chance, shared the studio with Jorge Ben, an artistic reference to him since he was still in Salvador.

Gil & Jorge: Ogum, Xangô was launched in 1975, without planning. The record came from a jam session they had at an event at André Midani's house. The label's president was impressed with the impromptu show, same as they did during the recordings.

Between 1975 and 1979, Gilberto Gil plunged into the phase in which he produced a trilogy of four albums: the three unreleased Refazenda (1975), Refavela (1977) and Realce (1979) and the show Refestança (1977), performed with Rita Lee and released on disk, also playing with the "Re" prefix.

In 1975, Brazil was still under military command, and censorship determined the kind of music to be recorded and performed. The song that would be title of his new album, “Refazenda,” made his fans believe he was sending a message to the military.

In 1976, everything happened in Gil’s life. Maria, Sandra’s youngest daughter, was born, and he went on the Doces Bárbaros tour with Caetano, Gal, and Maria Bethânia. The double LP would come out in the same year he was arrested for the second time, this time for marijuana possession.

Released in 1977, Refavela was completely inspired by Gil’s new view on black culture after a month in Nigeria. The trip to the African country to take part in a festival meant he met black artists and debated black diaspora.

There, he met multi-instrumentalist and songwriter Fela Kuti, creator of Afrobeat and human rights activist. From then on, Gil’s sonority would never again be the same, and neither would his political stance.

Still in 1977, the singer recorded six tracks for a samba de breque [a type of samba with abrupt pauses] album, completing a repertoire of old recordings Germano Mathias. This project was released in May with the Antologia do Samba-Choro.

Refestança was recorded on a tour with Rita Lee, one year after they were both arrested for marijuana possession. In 1977, they joined their bands—Gil’s Refavela and Rita’s Tutti Frutti—and partied on stage and in the record.

In 1978, Gil released Ao Vivo em Montreux, recorded during his concert at the Montreux International Jazz Festival, in Switzerland. This phase started off a process of internationalization in his work, culminating with Nightingale the following year.

In 1979, Gil went to Los Angeles to record Nightingale, produced by Sérgio Mendes and with versions of his songs. The visit to the United States confirmed his perception of the potential of the wave of disco music. Four years after starting it, Gil ends the “Re” trilogy and, on his return to Brazil, launches Realce.

And, inspired by this dancing movement, in Realce he invested in a mix of Brazilian and foreigner musicians, he came to a sound that reinforced both Brazilian and American music.

In order to write the arrangements, Gil had Steve Lukather’s, from rock band Toto, guitar, and Jerry Hey’s, arranger for funk/soul band Earth, Wind and Fire, keyboards (the audio is an instrumental recording of the song, before adding voice).

Continues in Part 3.