André Luiz Geraissati (7 September 1951) is a Brazilian musician.
Andre’s path is one of the most emblematic within Brazilian instrumental music. Although working with music since the 60s, Andre Geraissati became known in the mainstream at the end of the 70s, with Grupo D'Alma. From 79 to 85 he was a part of this guitar trio, which, playing its own repertoire, with strong Brazilian characteristics, charmed audiences from all the world. With Grupo D'Alma, Andre played in the main international jazz festivals, establishing himself as one of the great talents of Brazilian guitar.
Between 82 and 85, the musician alternated his activities with Grupo D’Alma with performances with Egberto Gismonti. The musical alchemy of the duo was perfect and Andre participated of the tours ‘Fantasia’ and ‘Cidade Coracao’, sharing the stage with Gismonti. This partnership was very productive. ‘Entre duas palavras’, his first solo album released in 83, with the participation of Egberto Gismonti, is proof of this
After 85, Andre concentrated in his solo work. ‘Insight’, released on that year, was the first album recorded in Brazil in DDD format. In 87, Andre released the double album ‘Solo’. In 1988, he performed at the Montreux Jazz Festival, sharing the night with Bob McFerrin and Winton Marsalis. In the same year the album ‘DADGAD’ was released, and in 89, the album ‘7989’, titles which refer to tuning and harmonic tabs. These albums were released in Brazil and the world by Warner Records and reedited in CD in 2000 by Andre himself and ALG Audio&Video. The whole of his work granted him the title of Musician of the Decade.
After 1992 Andre dedicated himself to a project that he had long dreamed of: Putting together a series of concerts and recordings of ‘all’ the artists involved with Brazilian instrumental music, surrounding them with the best technology possible. A year later this project became a reality. With a contract made with Banco do Brasil, the Tom Brasil/ Banco do Brasil Musical project was born. There were hundreds of concerts and shows in theatres, universities, auditoriums, and public squares, with the best expressions of Brazilian music, uniting without exception or prejudice ‘all’ the instrumentalists in Brazil. Undoubtedly the most important register of instrumental music ever made in the history of Brazil.
André Luiz Geraissati (7 September 1951) is a Brazilian musician.
Andre’s path is one of the most emblematic within Brazilian instrumental music. Although working with music since the 60s, Andre Geraissati became known in the mainstream at the end of the 70s, with Grupo D'Alma. From 79 to 85 he was a part of this guitar trio, which, playing its own repertoire, with strong Brazilian characteristics, charmed audiences from all the world. With Grupo D'Alma, Andre played in the main international jazz festivals, establishing himself as one of the great talents of Brazilian guitar.
Between 82 and 85, the musician alternated his activities with Grupo D’Alma with performances with Egberto Gismonti. The musical alchemy of the duo was perfect and Andre participated of the tours ‘Fantasia’ and ‘Cidade Coracao’, sharing the stage with Gismonti. This partnership was very productive. ‘Entre duas palavras’, his first solo album released in 83, with the participation of Egberto Gismonti, is proof of this
After 85, Andre concentrated in his solo work. ‘Insight’, released on that year, was the first album recorded in Brazil in DDD format. In 87, Andre released the double album ‘Solo’. In 1988, he performed at the Montreux Jazz Festival, sharing the night with Bob McFerrin and Winton Marsalis. In the same year the album ‘DADGAD’ was released, and in 89, the album ‘7989’, titles which refer to tuning and harmonic tabs. These albums were released in Brazil and the world by Warner Records and reedited in CD in 2000 by Andre himself and ALG Audio&Video. The whole of his work granted him the title of Musician of the Decade.
After 1992 Andre dedicated himself to a project that he had long dreamed of: Putting together a series of concerts and recordings of ‘all’ the artists involved with Brazilian instrumental music, surrounding them with the best technology possible. A year later this project became a reality. With a contract made with Banco do Brasil, the Tom Brasil/ Banco do Brasil Musical project was born. There were hundreds of concerts and shows in theatres, universities, auditoriums, and public squares, with the best expressions of Brazilian music, uniting without exception or prejudice ‘all’ the instrumentalists in Brazil. Undoubtedly the most important register of instrumental music ever made in the history of Brazil.
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