"Navigatore's 12 movements are described as entries in an imaginary log that evokes different lifetimes. One hears Irish reels and jigs made over into hellaciously complicated stylized chamber music. One hears Flamenco rhythms intersect with Caribbean patterns. One hears high-level plucked Jazz runs, bowed romantic interludes that transform the bass into a cello on steroids. It's as though symphony musicians from a World Music orchestra had thrown their superior technical skills and combined life experiences into a massive cauldron, turned up the heat and presto - a masterwork just like the Vermeer of the cover art or a Cirque de Soleil production.Unless you've heard him, you plainly had no clue that bass could be played in this fashion. It's really a different ball - nay, bass game when Renaud Garcia-Fons is involved." (6moons.com)
" Afro Swing is some avant-garde Guinean music. Take the spirit of American jazz classics like John Coltrane or Ornette Coleman and then throw it away for traditional West African instruments and influences. Then, add some vocals that sort of sound like between Tom Waits and Louis Armstrong, but are still unique in its own way. Shake it all up and you might get an idea of what to expect. Or not." (Rateyourmusic)
"Trem Caipira is a deep dig into the Egberto Gismonti archive. Originally released in 1985 on EMI and reissued as the sixth CARMO release in 1992, it boasts Gismonti’s unusual arrangements of music by Heitor Villa-Lobos. And yet, despite being approved by the composer’s widow, Mindinha, and the participation of Orquestra Transarmônica D’Alma D’Omrac , the sounds are almost entirely produced by a bank of synthesizers and vocoder. How wonderful to hear Gismonti’s acoustic piano in “Bachiana No. 5,” which anchors relatively tasteful qualities! But then the flaccid horns and drum machine of “Desejo” take over, and all is once again lost.Having said all that, a few tracks work bizarrely well. These include “Cantiga” (from Bachiana No. 4) for its lively rhythms, chord changes, and a certain consistency of sound (not to mention the soprano saxophone of Nivaldo Ornelas) and “Preludio” (from Bachiana No. 4) for its harpsichord-like bite." (Tyran Grillo)
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