Gilberto Gil
Kaya N'gan Daya

Gilberto Gil plays Bob Marley.

Two Artists with a capital A, enormous, who have meant and still mean a lot to both Brazil and Jamaica. Musically, both musicians, before arriving at a personal sound and style, spent the early years of their careers with different approaches, playing Samba and Bossa, Rock Steady, and Early Ska respectively.

Bob Marley was one of the most important artists of the entire twentieth century, gifting us with songs that went beyond the idea of a song, becoming true anthems of peace and freedom, of deep religious intimacy, as well as mysticism.
Gilberto Gil, the flag of Brazil (not just musically) pays homage to Marley by recording a tribute project album that involves a significant effort of resources and ideas. Recorded entirely at Tuff-Gong studios, with collaborations from the original members of the Wailers and especially with the participation of the female side of the Wailers, namely the I-Threes (Rita Marley, Marcia Griffith, and Judy Mowatt).

What comes out is a good album, certainly born with pleasant as well as interesting ideas, but unfortunately, in some cases, it gives the impression that it could have "dared" more. I listened to this album years ago, and finally, a couple of days ago, it became mine. My curiosity was immense, also given the fact that the first listen happened a few years back. There was a strong desire to enjoy it and listen to it thoroughly, to savor every little facet fully. Unfortunately, this cannot happen because, as mentioned a few lines ago, this album (albeit very good) is a tribute too clean and honest to Bob Marley's songs.

From an interpreter like Gilberto Gil, I would have expected to hear Bob's songs in a new and engaging Carioca guise. Unfortunately, the songs lack Brazilian vitality and originality and add very little to the immortal versions of the Jamaican Lion. The arrangements are rich and varied but seem not to dare and almost faithfully replicate the standards of Reggae, while still maintaining good levels but extremely simple and traditional, considering the imagination and mastery of those born with "rhythm" in their blood; in my opinion, a characteristic common to South Americans as well as to Caribbeans.

Let's be clear, "Could you be Loved," for example, is a great, successful track in which the bass line mixes expertly with percussion that has a Dub taste. The input from the backing singers is very fitting and results in a great reinterpretation. "Kaya" is reinterpreted with a skillful touch of Brazil meets Jamaica, as is the splendid "Não chore Mais" (No Woman No Cry), which starts with a delicate and precious guitar arpeggio, fused into a wonderful accompaniment of violin and viola. The splendid, sweet, and seductive voice of Gilberto Gil singing in Brazilian provides a memorable interpretation. "Time Will Tell" is another particularly successful piece, full of green and gold sounds and atmospheres. "Lively up Yourself" stands out for its Brazilian singing, becoming "Elève-se Alto au Ceu," excellent and enriched by a skillful harmonica accompaniment and a perfectly fitting electric guitar that almost in the background with a slight distortion accompanies the chorus. As mentioned, the other songs present add very little (or perhaps nothing) to the historic originals.

Still, a good album, well played and interpreted, elegant and sinuous in sounds which, however, in the writer's opinion, could certainly have been more crossed and mixed with Jamaican ones. It could also be that, in the original intentions of the Brazilian musician, this desire to stay halfway and not alter Marley's original works was intended and sought to the end.

In conclusion, for me, this is an excellent album that I dare to recommend... then, it's up to you to judge. Enjoy Listening.