A PROCURA DA ESSÊNCIA (AO VIVO 1975-1976)

As a "Young Brasilian", I never had listened SOM NOSSO alive in my livetime, so I cannot understand why they have such kind of fame among all other musicians in the 70's, but after carrefuly listening this album I finaly understand it ! The real work of SOM NOSSO was in the stages, not in the studios !!! Amazing skilled musicians doing a massive amount of good music from Fusion to Art Rock passing thru synphonic prog ! A masterpiace, no doubt about it .

I've been looking for 20 or more years to get something from SNCD. Then I knew about this live CD and got it immediately. "Sinal da Paranóia" is one of songs from my youth time I will never forget, this Cd has the title 'À procura da essência' which is in fact the strongest and meaningful sentence of the lyrics. No matter the recordings are from medium to poor, the rarity of the songs and performance is what matters here, really good and strong acts like first part of "Blues do Verdi", with bass guitar solo from Pedrão, thrilling. I hope to get someday the "Snegs" CD, if it exists by now. Nice prog from 70's made in Brazil!

This legendary Brasilian band is rooted in the early Seventies. This 2-CD (both CD's contain 9 tracks) is a tribute to their music in that era, it contains recordings from 1975 and 1976 and is called "Amazonia years". The compositions feature mainly instrumental pieces with lots of Fender Rhodes electric piano play and a dynamic rhythm-section. It sounds as a blend of fusion/jazzrock and symphonic. The guitarwork is very strong: varied and powerful with fine use of the volume-pedal. The music also consists of wonderful keyboards, from string-ensemble and clavinet to Hammond organ and the famous Minimoog synthesizer, very dated but a pleasant musical experience. Unfortunately the recording quality is at the level of an average bootleg. If you don't have a problem with that, there's plenty to enjoy like a part in which "Starship trooper" from Yes is mixed and some blues (with mouth-organ) and rock and roll (a short improvisation).

Good, but not essencial. I think that the live performance of the band was really impressive. Some tracks are very interesting. However, the quality of the sound (probably, the original recordings) is not perfect. Well, this double CD has an undoubtful historical value, reflecting the stage of brazilian prog rock at mid- seventies.Good addition to my collection. I Recommend it.

I don't get tired to listen the first 79 minutes CD as the blend of styles are greatly well- balanced, are original and the extended improvisations show real skill ness interchanged with catchy, beautiful and dreamy melodic arrangements. SOM NOSSO DE CADA DIA line up has highly professional and gifted musicians with an incredible background. The other CD is worth too, principally for the 4 first tracks. Massive and delicate prog beauty, and no fillers. As a non official recorded material the sonic quality is in neat bootleg level, anyway we must be glad for the simple existence of this rare "Amazonia" tracks recordings, that otherwise would be lost forever.

Som Nosso is probably the most charismatic and gifted band in 70's Brazilian prog scene. Although during the 70's in Brazil, any rock act was marginalized as 2nd class music; "the thing" at the time was Brazilian popular music (MPB). Really MPB is quite original and EGBERTO GISMONTI did in the vein of progressive philosophy a blend of MPB and orchestral music during his 70's discography that is wonderful.

So Som Nosso did not get the deserved recognition for taking foreign influences. In the 70's Brazilian TV program "Rock Concert" I saw Som Nosso performing (where are these master tapes?), it was an unforgettable experience. I was about 16 y. o., the year was around 1977 I can still remember a bit.

Only in 2004 thanks to Rock Symphony label we could discover the unrevealed Som Nosso work. As CD liner notes : "for the very first time live recordings from Som Nosso at their most prog era during their 70's heyday carefully selected by the musicians theirselves amongst the best sounding tapes available; the material also includes live readings of unreleased tracks from Amazonia suite of 1975" that was rejected by record companies.

Dieter Fisher is right when he wrote to P.A. biography that "at times Som Nosso style can be referred to Italian bands ala PFM and Banco" ( in my vision MPB richness and latin emotional expression are also reference). He continues: "their music showed as well a strong American jazz-rock revealing some hints to English space rock" ( Yes, Camel, ELP and Mahavishinu can be some reference and also some ala soul style powerful vocals). A pity that the wonderful track "Rara Confluência" has the weakest sound recording. Overall originality compensates sound fails. I don' give 5 stars only because of some recording fails.

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 Pedrão 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 Pedrão 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 Paranóia 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.

Fragmentações 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 Confluência 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.

Água 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

I was very excited to know that there was a live recording of this legendary brazilian band from the 70´s. After all, very few good prog bands from that era in my country ever had the opportunity to record their music. Som Nosso De Cada Dia did that and their debut Snegs (1974) is still regarded as one of the best examples of the brazilian prog scene of that decade. Unfortunately they did not exactly had the opportunity to show their new, even more progressive work as they should, since the band, after much pressure from the recording label, relented and release an album that had only one side of the vinyl filled with what was supposed to be their second album and record some funk/soul numbers to try to appeal to the mainstream. I don´t have to say it was a complete failure that led to the group´s demise.

So I was only expecting great things when I heard that this double CD recording would contain only material they were playing live in late 1975/early 1976. Most of it would be of then unreleased tracks intended for their sophomore LP (only Sinal Da Paranoia is from their debut). At the time the group had growth from a trio to a sextet: founder members Pedrinho Batera (vocals, drums), Pedrão Baldanza (vocals, bass) plus guitar virtuoso Egydio Conde, Rangel (percussion) and two excellent keyboards players, Dino Vicente and Tuca Camargo. With such dream team, their shows became legendary, being highly praised by all who had the luck to attend them. Unfortunately, the recording quality were not the best and even with all the technology available in 2004, the sound we get here is little more than of an average bootleg. A real let down considering the wonderful music this group produced live. Some of them appeared on the ´prog side´of their second CD, but in longer and better versions. They did a lot of improvisations live and again I´m very sad that such powerful tunes were never released as they should.

At this phase of their brief career, the band was playing a very interesting blend of symphonic rock and jazz rock/fusion, full of improvisations and long (but never boring) solos, with a few nods to blues (Blues da Gaita, Cuidado Com O Verdi) and even rock´n roll (Improviso) plus some brazilian music influences. They were a tight unit, the arrangements are tasteful and the performances are quite exciting and powerful (technical problems aside). Only the vocals are on the average level.

With more than two hours of playing time, I think this double album is a valid document of a band that never had the opportunity to show their full potential. I really wish they had a better recording of those shows, for it would give them a better rating overall. Most of the songs deserve four or five stars.

Still, a nice surprise. 3,5 stars.