Antonella Barbieri Emily

The musical vortexes of Caterina Barbieri rewire time and space. Listening to the Italian composer and modular synth virtuoso has felt like traveling at light-speed and slow-motion all at once since 2017’s breakthrough doublealbum Patterns Of Consciousness. 2019’s acclaimed Ecstatic Computation pushed even further with the lead single “Fantas”, where a haunting melody hurtling towards its supernova climax felt like witnessing the life and death of a burning star. Far beyond any new age trope or modern synth trend, her music stands alone in its ecstatic intensity and cataclysmic emotional impact. Marking the debut album on her new label light-years, Barbieri now delivers her most profound work yet — a journey through inner-space as vast as a universe and as intimate as a heartbeat. The Spirit Exit opens and we fall in.

According to the press biography disseminated with advance copies of Gato Barbieri's Peak Records debut, The Shadow of the Cat, he was nearing 70 at the time of this release (previous published accounts would have put him at only 67) and this is the 50th album on which he is either featured or is the leader. One cannot, then, reasonably expect the old cat to have learned new tricks. Nor has his new label required him to; the company, run by contemporary jazz guitarist Russ Freeman, specializes in a melodic, commercial style of jazz. Producer Jason Miles (whose previous clients include Miles Davis and Luther Vandross) seems to have aimed at re-creating the sound of Barbieri's mid-'70s albums for A&M Records…

Charming & romantic. There's no better way to describe Gato Barbieri's late-'70s recordings for A&M, a chapter in the Argentinian saxophonist's varied career that carried him from Lalo Schifrin's orchestra to stepping out on his own playing everything from traditional South American forms to avant-garde jazz to Latin/jazz/pop fusion & back again. Hip-O Records & The Verve Group are proud to feature Gato Barbieri in the 20th Century Masters/The Millennium Collection series, gathering 10 evergreens from one of Gato's most beloved periods. Featured are the full album versions of "Europa (Earth's Cry Heaven's Smile)," "Behind The Rain," "Sunride" & "I Am Singing."

Italian pop singer Antonella Ruggiero used to sing at parties as a child, her first step to becoming a local star years later. After attending the Fine Arts Academy, she started working as a designer for an advertising company. In 1975, Ruggiero joined Matia Bazar, a popular vocal group founded by Aldo Stilita, which achieved international recognition in the late '70s. In October 1989, she decided to leave the band. After an inspiring length of time in India, Ruggiero began her solo career with the release of an album called Libera in 1996. That was followed by 1997's Registrazioni Moderne, produced by Roberto Colombo. It included the song "Per Un'Ora d'Amore," which climbed the most important Italian charts. In 1998, she came in second place at the San Remo Festival for singing "Amore Lontanissimo."

"Patterns Of Consciousness is the powerful second full length album from analog synth composer Caterina Barbieri. Gorgeous high resolution analog textures and algorithmic melodies unfold under Barbieri's careful control, exploring the basic nature of sound and consciousness. These pieces are minimal in arrangement but maximal in presence asserting Barbieri as a unique voice in contemporary electronic music composition. Highly recommended to fans of Alessandro Cortini and Eleh." (Important Records)

Predominantly known from his contributions to Japan and their follow-up Rain Tree Crow, as well as the many-sided rock band Porcupine Tree, RICHARD BARBIERI indeed is a big player in prog terms…

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…

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…