Cue Gato

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…

Two jazz giants of the 70s come together on this rare Italian recording from the late 60s - South African pianist Dollar Brand (Abdulla Ibrahim) and Argentine tenorist Gato Barbieri - both working here in spare duo formation, with edges that are a fair bit sharper than most of their later work! The format is incredibly spare - just tenor and piano, plus some occasional cello work by Brand - dark and angular, but also filled with small flowers of hope, flowering in the spontaneous presence of these two great minds - a tremendous spirit that makes the record very different than freer jazz outings, and which maybe points the way towards some of the classic European tenor/piano recordings to come.

Don Cherry Quintets featuring Archie Shepp & Gato Barbieri - Copenhagen 1963 & Hilversum 1966 (1963-66) {FreeFactory 069}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 247 Mb | MP3 @320 -> 135 Mb
Full Artwork @ 300 dpi (jpg) -> 30 Mb | 5% repair rar
© 1963, 1966, 2010 FreeFactory | 069
Jazz / Hard Bop / Avant-Garde Jazz / Trumpet / Saxophone

Two previously unreleased 1960s performances by Don Cherry in quintet format. The first show was recorded in Denmark in 1963 (but a different date that the release on Storyville) and showcases the New York Contemporary Five, featuring Cherry with Archie Shepp, John Tchicai, Don Moore and J.C. Moses.

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…

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…

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"…