Gilson Schachnik is a pianist who likes a silky smooth kinda samba'ed bebop, trotting out ten covers and originals in a breezy south of the border ambience. Limpiao hits the much loved grooves of Gilberto, Pascoal, Guaraldi, Jobim, and other prime exemplars of the genre. However, he took on an incredibly good bassist to cover the mid-ground between rhythm and lead, Fernando Heurgo, who, when he really cuts loose, which is often, affects a cross between Jaco, Percy Jones, and Ron Carter.
The recording here is basic and intimate, like a nightclub stage or cellar recording studio, just exposition and no fancy bullshit, jazz pure and simple. Cesar Camargo Mariano has had a huge influence on Gilson, and it shows clearly in the marvelous take on Mariano's Samblues, a song that leaps and gambols with swinging effervescence, Miguel Zenon's alto blowin' CTI-era lines above the abstract piano skipping and hopping beneath. I've noted the cut lengths below, so that you can clearly understand that the cats here are playing out their roles generously. To my mind, the best jazz establishes melody and then tantalizes, twists, and shreds it, playing musico-mathematical games for the listener's delight, and Lampiao abounds with such things.
Gilson Schachnik has wedged himself in the second prime era of jazz (the first was the establishing day of Bird, Diz, Louis, etc.; the second the incredible ferment flowing off the West Coast Cool sound, the late 60s and 70s; and I'm not sure a third epoch has established itself yet—the business has been in too much turmoil), so the listener is treated to a very solid revisitation of a decade when Freddie Hubbard, George Benson, Keith Jarrett, and the new young lions were taking over. His CD is a time machine back to the top of that era and reason to clear the dance floor for the exuberant while brainiac be-boppers just lay back and smile, diggin into the grooves and permutations.
Edited by: David N. Pyles
Copyright 2009, Peterborough Folk Music Society.
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