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Som Nosso de Cada Dia - A Procura da EssÍncia (Ao Vivo 1975-1976) CD (album) cover


Som Nosso de Cada Dia


Eclectic Prog

3.47 | 22 ratings

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3 stars Som Nosso De Cada Dia (SNDCD) is a progressive rock band from Brazil that was born in the seventies scene. To commemorate the thirty years release of their debut and classic album Snegs (1974) the band release this double CD that presents for the very first time the live recordings of SNDCD from their brief period of activity in the mid seventies. SNDCD began performing live some new material ? aside from their Snegs album ? that would be independently recorded at the end of 1975. The material included here was selected basically from two gigs in Sao Paulo in late 1975 / early 1976. All tracks presented here have been selected by bassist and singer Pedr„o Baldanza from the few remaining tapes in the personal archive of guitar player Egidio Conde. The recordings, despite being directly obtained from the venue's soundboards, present some flaws, technical glitches and saturation. So, don't expect an excellent sonic quality of this recordings as it sound like a bootleg record ? the bad ones, because some bootlegs have excellent quality. Musically, by removing all these sonic issues, this double CD is an enjoyable live set for those of you who like jazz/fusion (such as Chick Corea, Return to Forever, Mahavishnu Orchestra) type of prog music combined with a touch of seventies classic rock style such as Blind Faith, Cream, etc.

The band line-up for both concerts is Pedr„o Baldanza (bass, vocals, Fender Jazz bass 64), Pedrinho Batera (drums, vocals, Ludwig drums, Moog drums), Egidio Conde (guitar Gibson ES-335, Fender Stratocaster), Dino Vicente (keyboards, Hammond Organ B3, ARP Odyssey, Moog 15, Fender Rhodes electric piano) Tuca Camargo (keyboards, Fender Rhodes electric piano, Minimoog, clavinet) and Rangel (percussion).

Sinal da Paranůia starts with a relatively long musical introduction in the form of jamming session that combines keyboards, bass guitar, drums and guitar. Keyboard is key force during this introduction part with a Chick Corea style. Bass lines are performed dynamically backed up with an excellent drumming and jazzy keyboard. This relatively long introduction plays repeated set of chords to accompany keyboard improvisation. Guitar continues the role of solo after keyboard. It then brings the vocal line in which enters the music in the middle of the track. This part reminds me of a classic rock tune Presence of the Lord performed by Blind Faith. It's not exactly the same melody-wise, but it produces similar nuance. It also reminds me to PFM and Genesis' music.

FragmentaÁűes opens with a spacey soundscape followed with drum beats reminiscent of Pink Floyd's early work. The music sounds like a jam session with spacey nuances, featuring electric guitar and keyboard. It flows flatly with relatively no major changes in tempo, only it demonstrates some guitar solo, keyboard fills and some improvised bass lines / drumming. It's too long and a bit boring for my personal taste. But for those who like repetitive chords with some improvisations, you may survive with this 12 minute track.

Neblina explores the spacey nuance at its intro, continued with a mellow voice line reminiscent of PFM; augmented with bass lines and improvised keyboard. It projects the seventies progressive rock vein with some bluesy style. The guitar solo performed between two singing parts is truly stunning. Right after the second part of singing ? in the middle of the track ? the music turns into a faster tempo in a jazz improvisation vein featuring excellent keyboard solo; continued with guitar solo and vocal line. Drumming is performed dynamically. I personally enjoy this track, despite sonic quality issue. Well, if the band gets together in the studio again to record this track, I'm sure it will show this is a wonderful track with great composition!

Tema da Batera is a short track with a very poor sonic quality so that I can not listen and observe in a great details on the music. For sure, it comprises an excellent combination of drum sounds, keyboard effects, bass lines and guitar in energetic mood. But I cannot comment further as it produces unclear sounds. It also happens with Rara ConfluÍncia which has similar sonic issue. This seems like a wonderfully crafted music performed lively in front of dynamic audience. The keyboard and guitar sounds are superb but unfortunately I cannot hear them clearly.

Sonically, Bote Salva Vidas has a better sonic quality than two previous track. It contains dynamic drumming which with bass lines and keyboard fills accompany an excellent guitar solo. The style is still the same: jam session but it produces some nice melodies from the solo parts. Some keyboard sounds are played at the background and project a symphonic nuance of the song. During some transitions, the guitar is played in Steve Hackett style. The bass lines play important roles to bring the music into different form. This happens in the middle of the track where the long transition is followed with a vocal line. At the end of the track, guitar solo takes the lead to conclude the track accompanied by dynamic bass lines and excellent drumming. Composition-wise, this is an excellent track.

Tinta Preta Fosca (Bem no Fim) begins with an ambient soundscape followed with drum work that brings the music in a full swing with a sort of poppy style. The vocal line is performed energetically by multiple voices augmented with an organ. Guitar solos fill in between singing parts. Even though it's not tightly composed, this song has a stunning guitar solos.

Blues da Gaita as the title implies, pushes the band's music into a blues scene using harmonica as opening augmented with guitar work, bass lines and organ. Disc One is concluded with a short piece Improviso in a jazz/blues style.

Disc Two contains four tracks with the same title therefore I won't review again each. However, I will give some views on Tema de Batera as the sonic quality is better than on Disc One.

Sonhas Paulinho starts with an ambient guitar solo and it flows gradually into a slow/medium tempo music featuring guitar as main melody during the first half of the duration. As usual, bass lines are played dynamically and keyboard sound provides a symphonic nuance. Vocal starts to enter the music in the middle of the track. Unfortunately, sonic quality is poor so that I cannot hear a transparent voice. For sure, guitar solo plays critical role.

Ńgua Limpa features keyboard as main solo in its opening, accompanied by bass lines and drums. When vocal enters, the keyboard turns into an organ sound at background. Right after the singing part, the music turns faster into an improvised jazz/fusion style. Sonic quality has limited me from observing further on composition of this song. For sure, the tempo has gradually increased towards the end of the song.

Tema da Batera starts off with an energetic drumming and dynamic bass lines in relatively fast tempo. It is then followed with an excellent drum solo until the end of track. The record continues with a long jam session track Blues do Verdi - Voando a 10.000 por Hora. It's a nice jam session combining excellent keyboard, stunning guitar and dynamic drumming / bass lines. In some parts, bass guitar is given a chance to perform in solo. Rajada Runaway begins with a bass guitar solo followed with drum beats and guitar fills. Vocal enters in ambient style augmented with a bluesy guitar fills. Stunning guitar solo continues right after first part singing part. The singing style of the lead singer is technically excellent.

To Summarize - for those who knew the band historically, would love this collection because this double CD comprises the band's live experiences in their glorious days during the seventies. For those who love jazz/fusion based progressive music would also enjoy this record. You can find great solos on keyboard and electric guitar combined with excellent bass lines. The only big problem with this live compilation is its poor sonic quality.

Peace on earth and mercy mild - GW

Gatot | 3/5 |


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