Jazz

Gato Barbieri & Dollar Brand ‎– Confluence (1975)

2016-04-18T15:49:08Z

Gato Barbieri & Dollar Brand ‎– Confluence (1975)


A1 	The Aloe And The Wildrose 	14:20
A2 	Hamba Khale! 	2:12
B1 	To Elsa 	7:15
B2 	Eighty First Street 	8:20

Gato Barbieri – tenor saxophopne
Dollar Brand – piano, cello

In 1968 tenor-saxophonist Gato Barbieri and pianist Abdullah Ibrahim (then known as Dollar Brand) recorded a surprisingly successful set of duets. Although their collaboration was unexpected (Barbieri at the time was mostly known for his intense solos and Brand for his melodic qualities), they seemed to bring out the best in each other, performing two originals apiece and finding a great deal of common ground. ---Scott Yanow, Rovi

download (mp3 @192 kbs):

yandex 4shared mega mediafire zalivalka cloudmailru uplea

back

Gato Barbieri & Lonnie Liston Smith – Bolivia (1973)

2016-04-13T15:51:14Z

Gato Barbieri & Lonnie Liston Smith – Bolivia (1973)


A1 	Merceditas 	9:07
A2 	Eclypse/Michellina 	6:24
B1 	Bolivia 	7:46
B2 	Ninos 	7:15
B3 	Vidala Triste 	5:33

Gato Barbieri - Tenor Saxophone, Flute, Vocals
Lonnie Liston Smith - Piano, Electric Piano [Rhodes]
John Abercrombie – Guitar
J.-F. Jenny-Clark, Stanley Clarke – Bass
Pretty Purdie – Drums
Airto Moreira, Gene Golden (2), James M'tume, Moulay "Ali" Hafid – Percussion

In 1973, Argentinean saxophonist Gato Barbieri contemplated a move to a more commercially viable, accessible sound, one that appealed to both North and South American audiences. He moved from the jazz vanguard toward it's exotic center (and finally into the commercial world altogether) with a number of records, including this one, which explored the various rhythms, melodies, and textures of Afro-Cuban and Latin American sounds. Bolivia features Barbieri immediately prior to his Impulse recordings that resulted in the celebrated four-chapter Latin America series. Utilizing the talents of musicians as diverse as guitarist John Abercrombie, pianist Lonnie Liston Smith, drummer and percussionists Airto Moreira, M'tume, Bernard "Pretty" Purdie, Gene Golden, and Moulay Ali Hafid, as well as bassists Stanley and J.F. Jenny Clark. Barbieri's musical reach is everywhere here. There's the bolero-like romp of "Merceditas," where his normally raw-toned, feeling-centered playing is kicked up a couple notches into a frenetic, emotional tidal wave, and the haunting "Bolivia," full of shimmering percussion and pianistic glissandi courtesy of Smith. Barbieri's loping, spare playing is reminiscent of Coltrane stating of the melodic frames in "India." There is also the melody of the traditional "Eclypse" wedded to a gorgeous, sensual Cuban son-like melody "Michellina" (for Barbieri's Italian born wife). The final two of the album's five tracks are based in Argentinean folk forms associated with the tango, but are less formal, more open, and modally charged. Setting both "Ninos" and "Vidala Triste" in minor keys with open modal themes, improvisation happens -- á la Ornette Coleman -- in the heart of the melody, despite the intricate nature and complex time and key changes inherent in both tunes. Ultimately, Bolivia is a sensual, musically adept, and groundbreaking recording, which offered Barbieri a chance to come in from the avant-garde before heading back to the fringes with the Latin America series. A fine effort that is finally getting the notoriety it deserves. ---Thom Jurek, Rovi

download (mp3 @320 kbs):

yandex 4shared mega mediafire zalivalka cloudmailru uplea

back

Gato Barbieri - Caliente (1986)

2016-01-15T16:48:37Z

Gato Barbieri - Caliente (1986)


1 	Fireflies 	5:30
2 	Fiesta 	5:08
3 	Europa (Earth's Cry Heaven's Smile) 	4:26
4 	Don't Cry Rochelle 	4:56
5 	Adios - Part I 	0:33
6 	I Want You 	5:56
7 	Behind The Rain 	5:36
8 	Los Desperados 	6:17
9 	Adios - Part II 	1:00

Bass – Gary King
Drums – Lenny White
Guitar – David Spinozza, Eric Gale, Joe Beck
Keyboards – Eddy Martinez
Keyboards, Synthesizer – Don Grolnick
Orchestrated By – Jay Chattaway
Percussion – Cachete Maldonado, Mtume, Ralph MacDonald
Saxophone [Tenor], Arranged By – Gato Barbieri
Strings – Alan Shulman, Alfred Brown, Charles McCracken, David Nadien, Harold Kohon,
 Harry Cykman, Harry Glickman, Harry Lookofsky, Matthew Raimondi, Max Ellen, 
 Max Polikoff, Paul Gershman, Theodore Israel
Trombone – David Taylor, Paul Faulise, Wayne Andre
Trumpet – Bernie Glow, Irvin Markowitz, Marvin Stamm, Randy Brecker

Believe it or not, this Argentinian-born saxophonist spent his early years playing in the jazz avant-garde with the likes of Don Cherry. But for all his free-form experiments, "the Cat" hit his stride with this pristine piece of seminal pop-jazz. His emotional, warm-blooded playing, gritty-sweet tone, and Latin-laced grooves slide down smooth and easy. Covers of Santana's "Europa (Earth's Cry Heaven's Smile)" and Marvin Gaye's "I Want You" remain faithful to the originals' vibe, yet take on a seductive Spanish accent thanks to Barbieri's expressive tenor and a battery of Latin percussion. Elsewhere, hip-swiveling rhythms and tuneful arrangements of cuts like "Fiesta," "Behind the Rain," and "Los Desperados" simply simmer. Drummer Lenny White kicks down a rock-solid beat, percussionists Ralph MacDonald and Mtume add the spice that's funky and nice, and producer Herb Alpert (of Tijuana Brass, and the "A" in A&M Records) polishes the proceedings to a glossy sheen with colorful orchestrations and silky strings. ---Rovi

download (mp3 @320 kbs):

oboom yandex 4shared mega mediafire zalivalka cloudmailru uplea

back

Gato Barbieri - Chapter Four: Alive In New York (1975)

2016-01-25T16:53:36Z

Gato Barbieri - Chapter Four: Alive In New York (1975)


A1 	Milonga Triste 	6:25
A2 	La China Leoncia 	15:49
B1 	Baihia	10:30
B2 	Lluvia Azul 	9:52

Gato Barbieri -tenor saxophone, guiro, voice
Howard Johnson - tuba, bass clarinet, flugelhorn, tambourine
Eddie Martinez - piano, Fender Rhodes
Paul Metzke – guitar
Ron Carter – bass
Portinho – drums
Ray Armando - percussion, conga

Taken from three nights of recording in February of 1975, Gato Barbieri's Chapter 4 is a continuation -- albeit in a concert setting -- of the music explored on his first three chapters for Impulse. Finally available on CD this set includes three Barbieri compositions, including the four-part suite "La China Leonicia" and his ubiquitous "Milonga Triste." The band here includes percussionist Ray Armando, bassist Ron Carter, multi-instrumentalist Howard Johnson (here on tuba, flügelhorn, and bass clarinet), pianist Eddie Martinez, guitarist Paul Metzke, and Brazilian drummer Portinho. The band here is full of warmth as well as fire, and the blowing is full of passion. Barbieri's bands in the early and mid-'70s were well rehearsed, and deeply in tune with his brand of Latin jazz. The empathy in the rhythm section is utterly uncanny as Carter, Martinez, and Portinho create a shape-shifting backdrop for the frontline players to wind and entwine one another, incorporating formal notions of song into the action. The opening "Milonga Triste" is a case in point as Gato plays the melody, Johnson, in his own gift for lyricism, plays contrapuntal fills, and Metzke trots out elongated fingerpicked figures for Barbieri to solo off of, never losing the lyric in the process even as the intensity of the tune grows with every chorus. The suite begins as a free blowing exercise where modes are kept hovering about for the frontline players to improvise from until a melody is established and a direction taken that changes continually in the following three parts. The album's closer, "Lluvia Azul," begins as a ballad of dreamy quality and becomes a Latin jazz steamer by the end of the first third of its ten minutes, and becomes a lyrical orgy of harmonic invention and chromatic interplay with burning salsa rhythms fueling the entire thing. Chapter 4: Alive in New York is one of Barbieri's finest moments on record. ---Thom Jurek, Rovi

download (mp3 @224 kbs):

yandex 4shared mega mediafire zalivalka cloudmailru oboom uplea

back

Gato Barbieri - Chapter One: Latin America (1973)

2016-01-17T16:50:50Z

Gato Barbieri - Chapter One: Latin America (1973)


1 	Encuentros	12:29 	
2 	India	8:58 	
3	La China Leoncia Arreo La Correntinada Trajo Entre; La Muchachada La Flor De La Juventud.	13:30 	
4 	Nunca Más	5:27 	
5 	To Be Continued	2:26

Gato Barbieri - Sax (Tenor), Vocals
Osvaldo Berlingieri  - Piano
Adalberto Cevasco - Bass, Guitar, Guitar (Bass)
Domingo Cura - Bombo, Drums
Isoca Fumero - Charango, Guitar
Pocho Lapouble - Drums
Ricardo Lew - Guitar, Guitar (Electric)
Raul Mercado - Flute, Quena
Amadeo Monges - Harp, Indian Harp
Jorge Padin - Percussion
Quelo Palacios - Guitar, Guitar (Acoustic)
Antonio Pantoja - Erkencho, Quena, Sikus, Various Instruments
Eduardo Zurdo Roizner - Percussion
Enrique "Zurdo" Roizner - Percussion
Dino Saluzzi - Accordion, Bandoneon, Guest Artist

When Gato Barbieri signed to Impulse! Records in 1973 for a series of critically lauded albums, he had already enjoyed a celebrated career as a vanguard musician who had worked with Don Cherry and Abdullah Ibrahim (then known as Dollar Brand), recorded for three labels as a leader, and scored and performed the soundtrack to director Bernardo Bertolucci's film Last Tango in Paris. Chapter One: Latin America was a huge step forward musically for the Argentinean-born saxophonist, even as it looked to the music of his heritage. This turned out to be the first of four chapters in his series on Latin America, and for it he teamed not with established jazz musicians, but instead folk and traditional musicians from his native country, and recorded four of the album's five cuts in Buenos Aires -- the final track, a multi-tracked solo piece, was recorded in Rio de Janeiro. The music found here doesn't walk a line between the two worlds, but freely indulges them. The enormous host of musicians on the date played everything from wooden flutes to electric and acoustic guitars, bomba drums and quenas, and Indian harps and charangos, creating a passionate and deeply emotive sound that echoed across not only miles but also centuries. At the helm was Barbieri, playing in his rawest and most melodic style to date, offering these melodies, harmonies, and rhythms as a singular moment in the history of jazz. While the entire album flows seamlessly from beginning to end, the A-side, comprised of Barbieri's own "Encuentros" and J. Asunción Flores and M. Ortiz Guerrero's classic "India," is the clear standout. That said, the four-part suite that commences side two -- "La China Leoncia Arreo la Correntinada Trajo Entre la Muchachada la Flor de la Juventud" -- is a work of such staggering drama and raw beauty that it is perhaps the single highest achievement in Barbieri's recorded catalog as an artist. Simply put, this album, like its remaining chapters, makes up one of the great all but forgotten masterpieces in 1970s jazz. Thankfully, Verve has brought this set back into print on CD as part of its wonderfully mastered, budget-priced Originals series. ---Thom Jurek, Rovi

download (mp3 @320 kbs):

yandex 4shared mega mediafire zalivalka cloudmailru oboom uplea

back

Gato Barbieri - Chapter Three: Viva Emiliano Zapata (1974)

2016-01-23T17:02:13Z

Gato Barbieri - Chapter Three: Viva Emiliano Zapata (1974)


1 	Milonga Triste	4:57
2 	Lluvia Azul 	7:39
3 	El Sublime 	5:51
4 	La Padrida 	4:43
5 	Cuando Vuelva A Tu Lado (What A Difference A Day Makes)	5:27
6 	Viva Emiliano Zapata 	6:03

Gato Barbieri - Composer, Sax (Tenor)
Ray Alonge - French Horn
Ray Armando - Latin Percussion, Percussion
Bob Brecker - Flugelhorn, Trumpet
Randy Brecker - Flugelhorn, Trumpet
James Buffington - French Horn
Ron Carter - Bass, Guitar (Bass)
George Davis - Guitar (Acoustic), Guitar (Electric)
Howard Johnson - Clarinet (Bass), Flugelhorn, Sax (Baritone), Tuba
Jose Mangual - Percussion
Luis Mangual - Latin Percussion
Ray Mantilla - Latin Percussion, Percussion
Eddie Martinez - Fender Rhodes, Piano, Piano (Electric)
Bob McCoy -Flugelhorn, Trumpet
Paul Metzke -Guitar (Electric)
Buddy Morrow - Trombone
Victor Paz - Flugelhorn, Trumpet
Portinho - Latin Percussion, Percussion
Seldon Powell - Flute, Flute (Alto), Piccolo, Piccolo Flute, Sax (Alto), Sax (Baritone)
Alan Raph - Trombone (Bass)
Alan Rubin - Flugelhorn, Trumpet
Grady Tate – Drums

Chapter Three: Viva Emiliano Zapata is the third of the four excellent "chapters" in saxophonist and composer Gato Barbieri's four-part "Latin America" series for Impulse, and released in 1974 with the core of a band he would use for his live outing on Chapter Four: Alive in New York. Produced by Ed Michel, this is a large group that included bassist Ron Carter, drummer Grady Tate, percussionists Ray Mantilla, the ubiquitous -- and brilliant -- Portinho, Ray Armando, and Luis Mangual, guitarists George Davis and Paul Metzke, and a large horn section. The session was arranged and conducted by the legendary Chico O'Farrill. There are six tunes on the set, divided between four Barbieri originals, and two covers including the legendary "Milonga Triste," and "What a Difference a Day Makes." While the former became a staple of Barbieri's live sets, it's his own compositions that are of most interest here, such as the complex horn charts in "El Sublime," with its funky Latin backbeat and his gorgeous, impassioned, hard-edged blowing over the top. The groove is irresistible. The title track begins as a rhumba with a killer piano introducing the claves and other percussion before the popping brass underscore that unmistakable Afro-Cuban rhythm. O'Farrill colors his arrangement with lithe flutes finding spaces to be heard in the dense, building intensity of the horns and the drums and percussions playing counter rhythmic statements. What initially sounds like one statement being played continuously is gradually revealed to be a subtly shifting set of tones, rhythms, and even modalities. Barbieri blows against the entire mess initially, driving right into the enormous harmonious storm and eventually rising above it with enormous squeals and squawks, while never losing the lyric bent in the tune. It's a breathtaking finish to a stellar recording, and of the four chapters in the series, the one most accessible to most jazz fans. ---Thom Jurek, Rovi

download (mp3 @192 kbs):

yandex 4shared mega mediafire zalivalka cloudmailru oboom uplea

back

Gato Barbieri - Chapter Two: Hasta Siempre (1973)

2016-01-20T17:05:33Z

Gato Barbieri - Chapter Two: Hasta Siempre (1973)


1.Encontros
2.Marissea
3.Juana Azurduy
4.Latino America
5.Para Nosotros
6.Latino America (alternate take)

Gato Barbieri - Flute, Sax (Tenor), Vocals, Wind
Paulinho Braga - Drums
Adalberto Cevasco - Bass 
Mayuto Correa - Congas, Triangle
Domingo Cura - Bombo, Bongos
Daudeth De Azevado - Cavaquinho
Helio Delmiro - Guitar
Isoca Fumero - Charango
Jim Hughart - Bass 
Pocho Lapouble - Drums
Ricardo Lew - Guitar (Electric)
Raul Mercado - Flute (Wood), Quena
Amadeo Monges - Arpa India, Harp
Novelli - Bass 
Jorge Padin - Percussion
Quelo Palacios - Guitar (Classical)
Antonio Pantoja - Erkencho, Percussion, Quena, Sikus
Zurdo Roitzner 	- Drums, Percussion
Enrique "Zurdo" Roizner - Drums, Percussion

The second entry in Gato Barbieri's series of Impulse albums dealing with Latin America picks up where the first one left off, and in its way, follows its format closely yet not without some key differences. Based on the critical reviews of Chapter One: Latin America, he was emboldened to take some new chances on this, Chapter Two: Hasta Siempre (which translates to "As to Always.") The album was recorded between Rio de Janeiro and Los Angeles with the set's final cut recorded in Buenos Aires, Barbieri's homeland.

The set kicks off with parts one and three of "Econtrol," a raucous, festive jam that marks the album's only real concession to American music because of an electric bassline by Los Angeles sessionman Jim Hughart. The rest of the players are all Latins, most unheard of outside their native lands. Barbieri's blowing is, like Pharoah Sanders', over the top, unfettered, deeply emotive like the human voice in full-throated song. Totaled, the two parts of the suite cover six-and-a-half minutes -- part two was featured on an Impulse sampler called The Saxophone and is not present here. The accompaniment of Helio Delmiro's electric guitar with Paulinho Braga's drum kit, Mayuto Correa's conga work, and Daudeth de Azevedo's small, four-string guitar called the "cavaco" adds to the culture clash that comes flowing out of the center of the mix. Add to this Novelli's second electric bassline and it becomes an orgy of rhythm and carnival spirit: free, funky, and forceful. "Latino America" is a much more typical piece in that it employs folk instruments almost exclusively: Quena, Indian harp, bombo drums, small percussion alongside electric and classical guitars, and Barbieri's haunted saxophone lines playing full modal. "Maressea" is once more a sort of "fusion" tune where Latin instrumentation, carnival rhythms, Afro-Cuban salsa beats, and funky undertones all commingle, sweat, and groove under the saxophonist's intense, extremely busy tenor.

The only track not composed by Gato is the final one, "Juana Azureduy." Here, his narration (in Spanish) is supported by a host of drummers, guitars ranging from full-on electric and classical to charango, an electric funky bassline, and an army of small percussion as Indian harps and wood flutes swirl about the sound of his voice, which at times whispers like the wind, and at other times, shouts. His tenor, like Coltrane's performances on "India" or "Greensleeves," goes into the intricacies of minor modes to bring out the folk melodies he's evoking from the lyric line of the composition. At over 11 minutes, it is the longest cut here, and it's the strongest. It's a stunner and will leave any interested listener breathless by its finish.

Interestingly, Chapter Two: Hasta Siempre wasn't greeted with the same laudatory critical acclaim as its predecessor was, but in some ways, it's a far stronger album, reflecting Barbieri's growing confidence in himself as a composer, arranger, and bandleader -- he already had his mettle as a soloist. This was reissued by Verve as part of its excellent Originals series. It sounds great, is dirt-cheap, and is an essential entry in the canon of great Latin jazz. ---Thom Jurek, Rovi

download (mp3 @192 kbs):

yandex 4shared mega mediafire zalivalka cloudmailru oboom uplea

back

Gato Barbieri - Fenix (1971)

2016-03-24T16:55:16Z

Gato Barbieri - Fenix (1971)


1 	Tupac Amaru	4:13
2 	Carnavalito 	9:10
3 	Falsa Bahiana 	5:48
4 	El Dia Que Me Quieras 	6:10
5 	El Arriero 	7:24
6 	Bahia 	6:23

Gato Barbieri – saxophone
Lonnie Liston Smith – piano
Ron Carter – bass
Na Na - congas, berimbau
Gene Golden - congas, bongos
Lennie White III – drums
Joe Beck – guitar (1)

Some artists totally change directions; some reinvent their personalities. It is hard to know exactly what to make of the case of this Argentinian tenor saxophonist, who first appeared as a sideman on several extremely important Don Cherry projects, making such an essential contribution to the overall feel of these records that listeners expected great things. After a few attempts at finding a meeting place between the energy and harshness of free jazz and the his own rhythmic roots, he created this album in which everything seemed to come together perfectly. If a judgement is to be made based on Barbieri's overall career, then a lot of credit would be given to his accompanying musicians here, who are strictly the cream of the crop. A horn player certainly couldn't complain about a rhythm section featuring bassist Ron Carter, drummer Lenny White, and pianist Lonnie Liston Smith, the last fresh out of the band of Pharoah Sanders, where he had established himself as the absolute king of modal, vaguely Latin or African sounding vamps. Smith was able to fit right in here, and he of course knew just what to do when the saxophonist went into his screaming fits, because he surely had plenty of practice with this kind of stuff playing with Sanders. The leader adds a nice touch of ethnic percussion with some congas and bongos and Na Na on berimbau; in fact, this was the first time many American listeners heard this instrument. From here, Barbieri continued to build, reaching a height with a series of collaborations with Latin American musicians playing traditional instruments. He would then switch gears, tone down the energy, and become kind of a romantic image with a saxophone in his mouth, producing music that brought on insults from reviewers, many of whom would have bit their tongues if they'd known much worse sax playing was to come via later artists such as Kenny G. But at this point in 1971, well before the Muppets would create a caricature out of him, Barbieri was absolutely smoking, and for a certain style of rhythmic free jazz, this is a captivating album indeed. --- Eugene Chadbourne, Rovi

download (mp3 @320 kbs):

yandex 4shared mega mediafire zalivalka cloudmailru uplea

back

Gato Barbieri - New York Meeting (2010)

2016-04-10T15:58:52Z

Gato Barbieri - New York Meeting (2010)


1 	Equinox (John Coltrane) 	6:57
2 	Its Over (Gato Barbieri) 		5:48
3 	Prepárense (Astor Piazzolla) 	8:11
4 	Straight No Chaser (Thelonious Monk) 	6:12
5 	Blue In Green (Miles Davis) 	6:09
6 	Someday My Prince Will Come (Frank Churchill, Larry Morey) 	7:24
7 	So What (Miles Davis) 	9:15

Gato Barbieri – tenor saxophone
Carlos Franzetti – piano
David Finck – double bass
Nestor Astarita – drums

I own many recordings by Gato Barbieri, both well-known and obscure. He is best known for his passionate, drawn out improvisations. But he is also known by those of a certain age for his more smooth and melodic projects. New York Meeting is a departure from both styles in that it is a straight-ahead jazz album, reminiscent of some of the best jazz of the late '50s and early '60s. Think Verve and Blue Note. Barbieri was 78 when this was recorded, but here he plays with all the controlled virtuosity of a much younger man. The passion and fire are still there, but he reins in his tendency to excess to be just one member of a combo in which each musician is as important as his fellows. Featured are Carlos Franzetti on piano, David Finck on contrabajo, Nestor Astarita on percussion, and of course Gato Barbieri on tenor saxophone.

Most tunes are covers of jazz giants everyone knows: Thelonius Monk, John Coltrane, and Miles Davis. But it was the stupendous swinging take on Astor Piazzolla's Preparense which drew me in. That alone is worth many times the price of the CD. That cut remains my favorite but I am also fired up by Coltrane's Equinox, Monk's Straight No Chaser, and Davis' So What, on which Barbieri comes closest to his musical abandon of old.

The CD is attractively packaged in a six-panel gatefold and comes with a useful booklet containing pictures, album information, biographical sketches of the musicians, and musings by Astarita and modern Argentine musical giant Litto Nebbia. If you ever liked Gato Barbieri but haven't heard of him lately, New York Meeting will reawaken the spirit of his magic in your soul. Get it while it remains available, you'll treasure it always. ---Jurt Harding, amazon.com

Latin Jazz saxophonist Leandro "Gato" Barbieri, who composed the Grammy-winning music for the steamy Marlon Brando film "Last Tango in Paris" and recorded dozens of albums over a career spanning more than seven decades, has died at age 83.

Laura Barbieri, his wife of nearly 20 years, said her husband died Saturday in a New York hospital from pneumonia. The musician recently had bypass surgery to remove a blood clot.

"Music was a mystery to Gato, and each time he played was a new experience for him, and he wanted it to be that way for his audience," she said. "He was honored for all the years he had a chance to bring his music all around the world."

The Argentine-born musician recorded some 35 albums between 1967 and 1982, when he stopped consistently making new records. He toured regularly and went on to record four more albums, including 1997's smooth jazz "Que Pasa," which reached No. 2 on Billboard's contemporary jazz charts.

Though in poor health, Barbieri, still sporting his trademark black fedora hat, had been performing monthly at the Blue Note jazz club in New York, since 2013. He last performed at the club on Nov. 23.

"He was my best friend," Laura Barbieri said Saturday. "I'm so grateful we had these 20 years together." She said a public memorial was being planned, but details have not been finalized.

Last year, Barbieri received a Latin Grammy lifetime achievement award for a career that covered "virtually the entire jazz landscape."

The citation from the Latin Recording Academy credited Barbieri with creating "a rebellious but highly accessible musical style, combining contemporary jazz with Latin American genres and incorporating elements of instrumental pop."

Barbieri won a Grammy for best instrumental composition in 1973 for his music for "Last Tango In Paris," the controversial erotic drama starring Marlon Brando and Maria Schneider that earned two Oscar nominations.

When director Bernardo Bertolucci needed sexy music for "Last Tango," he turned to Barbieri who was known for his distinctive, sensuous, huge-toned tenor sax sound.

"It was like a marriage between the film and the music," said Barbieri of the soundtrack that made him an international star, in a 1997 interview with The Associated Press. "Bernardo told me, 'I don't want the music to be too much Hollywood or too much European, which is more intellectual. I want a median.'"

Barbieri said tango had a special appeal because it is deeply tied to his Argentine soul.

"Always in the tango is tragedy — she leaves him, she kills him. It's like an opera but it's called tango," Barbieri said in 1997, noting that half of Argentinians, including him, had roots in Italy. "The lyrics and the melodies are very beautiful. It's very sensual."

Born on Nov. 28, 1932, in Rosario, Argentina, Barbieri grew up in a family that included several musicians, but did not take up an instrument until he was 12 when he heard bebop pioneer Charlie Parker's recording of "Now's the Time" and began studying clarinet.

After moving to Buenos Aires in 1947, Barbieri picked up the alto saxophone. He earned the nickname "El Gato," which means "The Cat," in the 1950s because of the way he scampered between clubs with his saxophone.

He gained national prominence playing alto saxophone in an orchestra led by Lalo Schifrin, the pianist and composer who later made a big impact with his TV and film scores, including "Theme from Mission: Impossible."

Later in the 1950s, Barbieri switched to tenor saxophone as he began leading his own groups.

In the 1960s, splitting his time between Rome and New York, Barbieri became part of the Ornette Coleman-inspired free jazz revolution, working extensively with trumpeter Don Cherry from Coleman's groundbreaking quartet. Influenced by other modern jazz saxophonists — including John Coltrane, Albert Ayler and Pharoah Sanders — he developed a warmer, grittier sound on the tenor sax. He recorded and performed with such avant-garde jazz musicians as Cherry, Carla Bley and Mike Mantler.

But he soon rediscovered his roots, incorporating South American rhythms, harmonies and melodic themes on albums starting with "The Third World" in 1969 — and eventually developed his own contemporary jazz sound. He followed that with the live album "El Pampero" in 1971.

After releasing the "Last Tango" album in 1972, Barbieri recorded a series of mellower Latin-infused soul-jazz and jazz-pop albums, including four "Chapter" albums for the Impulse! label, which explored Brazilian, Afro-Cuban and Argentine rhythms. He then released "Caliente" (1976) for the A&M label, which included his popular rendition of Carlos Santana's "Europa."

Barbieri recorded new material consistently until 1982, when a dispute with his record label led him to focus solely on touring. He recoded only intermittently in the 1980s, and did not release any albums from 1988-97. He released "Que Pasa" in 1997 after dealing with the turmoil of losing his Italian-born wife of 35 years to a degenerative illness in January 1995, and then undergoing triple bypass heart surgery two months later.

He had to recover physically and overcome depression at the death of his wife to finish the album, which he credited with being a healing force.

"The only way I saw was to go out and do something every day," he said. "The music gave me life."

Barbieri would release only three more albums over the rest of his life — including "The Shadow of the Cat" in 2002, a Latin-flavored smooth jazz session featuring guest trumpeter Herb Alpert, and "New York Meeting" in 2010 on which he played straight-ahead jazz standards, such as Thelonious Monk's "Straight, No Chaser" and Miles Davis' "So What." --- nytimes.com

download (mp3 @320 kbs):

yandex 4shared mega mediafire zalivalka cloudmailru uplea

back

Gato Barbieri - Que Pasa (1997)

2016-04-29T16:05:53Z

Gato Barbieri - Que Pasa (1997)


1 	Straight Into The Sunrise 	5:36
2 	Blue Gala 	5:57
3 	Mystica 	5:18
4 	Dancing With Dolphins 	6:24
5 	Círculos 	5:54
6 	Guadeloupe 	5:13
7 	Cause We've Ended As Lovers 	5:01
8 	Indonesia 	4:48
9 	The Woman I Remember 	5:10
10 	Granada 	5:49
11 	Adentro 	4:25

Gato Barbieri - Saxophone
Cyro Baptista - Percussion
Poogie Bell - Drum Programming, Drums
Dennis Chambers - Drums
Michael Davis - Trombone
Vanessa Falabella Donada - Vocals (Background)
Jeff Golub - Guitar
Robert Gonzales - Drums
Jim Hynes - Trumpet
Anthony Jackson - Bass
Ronald Jenkins - Bass
Romero Lubambo - Guitar
Mario Rodriguez - Bass (Electric)
Philippe Saisse - Drum Programming, Keyboards, Programming
Andy Snitzer - Sax (Alto)

Gato Barbieri's first recording in a decade finds his distinctive (and always passionate) tenor tone still mostly intact. It is nice to have Barbieri back on the scene again. –Scott Yanow, Rovi

I love the entire cd. The two instrumentals mentioned are my favorites.Gato Barbieri plays the sax with so much passion and the listener certainly feels that emotion. The music has a wonderful latin beat, makes you want to dance and is very romantic.If you love the sax and who doesn't, you'll love this cd.The artist started playing from the age of 8 yrs. His sound is absolutely captivating. ---Diane Korn, jazzreview.com

download (mp3 @320 kbs):

salefiles yandex 4shared mega mediafire zalivalka cloudmailru uplea

back