_ _ _ _ _ _ _ _ _
_ - - _ - - _ - - _ - - _ - - _ - - _ - - _ - - _ -
F u F F E N S p r o u d l y p r e s e n t s a r e l e a s e w h i c h
i n t e n t i o n i s t o p l e a s e a n d t o e n l i g h t e n t h
o s e l e s s a w a r e o f t h e t r u e m e a n i n g a n d q u a l
i t y o f m u s i c d u e t o d a m a g e s r e l a t e d t o m t v b
u t w i t h o u t f u r t h e r a d o f u f f e n s o f f e r y o u t
o i n c r e a s e y o u r k n o w l e d e g e a b o u t m u s i c a n
d i n t h a t w a y c r e a t e a b e t t e r w o r l d f o r o u r c
h i l d r e n t h e f o l l o w i n g m a s t e r p i e c e o f a r t
_ _ _ _ _ _ _ _ _
_ - - _ - - _ - - _ - - _ - - _ - - _ - - _ - - _ -
a r t i s t Gato Barbieri
a l b u m Bolivia
l a b e l n/a
g e n r e Jazz
r i p d a t e Dec-13-2003
s t r e e t d a t e 000-00-0000
o r i g i n a l r e l 1974
s u p p l i e r freund
s o u r c e cd
b i t r a t e 192 kbps, JS
e n c o d e r lame 3.92
r e l e a s e n o t e s
Gato Barbieri is the second Argentinian musician to make a
significant impact upon jazz -- the first being Lalo Schifrin, in
whose band Barbieri played as a teenager. His story has been that of
an elongated zigzag odyssey between his homeland and North America.
He started out playing to traditional Latin rhythms in his early
years, turning his back on his heritage to explore the jazz
avant-garde in the '60s, reverting to South American influences in
the early '70s, playing pop and fusion in the late '70s, only to go
back and forth again in the '80s. North American audiences first
heard Barbieri when he was a wild bull, sporting a coarse, wailing,
John Coltrane/Pharoah Sanders-influenced tone. Yet by the mid-'70s,
his approach and tone began to mellow somewhat in accordance with
ballads like "What a Diff'rence a Day Makes" (which he always knew as
the vintage bolero "Cuando Vuelva a tu Lado") and Carlos Santana's
"Europa." Still, regardless of the idiom in which he works, the
warm-blooded Barbieri has always been one of the most overtly
emotional tenor sax soloists on records, occasionally driving the
voltage ever higher with impulsive vocal cheerleading.
Though Barbieri's family included several musicians, he did not take
up an instrument until the age of 12 when a hearing of Charlie
Parker's "Now's the Time" encouraged him to study the clarinet. Upon
moving to Buenos Aires in 1947, he continued private music lessons,
picked up the alto sax, and by 1953 had become a prominent national
musician through exposure in the Schifrin orchestra. Later in the
'50s, Barbieri started leading his own groups, switching to tenor
sax. After moving to Rome in 1962 with his Italian-born wife, he met
Don Cherry in Paris the following year and, upon joining his group,
became heavily absorbed in the jazz avant-garde. Barbieri also played
with Mike Mantler's Jazz Composers' Orchestra in the late '60s; you
can hear his fierce tone unleashed in the "Hotel Overture" of Carla
Bley's epic work "Escalator Over the Hill."
Yet after the turn of the next decade, Barbieri experienced a slow
change of heart and began to re-incorporate and introduce South
American melodies, instruments, harmonies, textures and rhythm
patterns into his music. Albums such as the live El Pampero on Flying
Dutchman and the four-part Chapter series on Impulse -- the latter
which explored Brazilian and Afro-Cuban rhythms and textures, as well
as Argentinian -- brought Barbieri plenty of acclaim in the jazz
world and gained him a following on American college campuses.
However, it was a commercial accident, his sensuous theme and score
for the controversial film Last Tango In Paris in 1972, that made
Barbieri an international star and a draw at festivals in Montreux,
Newport, Bologna and other locales. A contract with A&M in the U.S.
led to a series of softer pop/jazz albums in the late 1970s,
including the brisk-selling Caliente! He returned to a more intense,
rock-influenced, South American-grounded sound in 1981 with the live
Gato...Para Los Amigos under the aegis of producer Teo Macero, before
doubling back to pop/jazz on Apasionado. Yet his profile in the U.S.
was diminished later in the decade in the wake of the buttoned-down
neo-bop movement.
Beset by triple-bypass surgery and bereavement over the death of his
wife Michelle, who was his closest musical confidant, Barbieri was
inactive through much of the 1990s. But he returned to action in
1997, playing with most of his impassioned intensity, if limited in
ideas, at the Playboy Jazz Festival in Los Angeles and recording a
somewhat bland album, Que Pasa, for Columbia. Che Corazon followed in
1999.
...and remember: s t a y f u f f e n s f o r l i f e
t r a c k l i s t
Merceditas 09:07
Eclypse Michellina 06:24
Bolivia 07:46
Ninos 07:15
Vidala Triste 05:30
36:02
MB 49,5
g r o u p n e w s
Now releasing more than the 5 rels per week our good old manifest
said we would. We are growing every day, and we just cannot help it.
h e l p f u f f e n s
We are looking for quality sites in Europe and US, to be afilliated
on. Remember, we are not in it for the creds, but for the spreading
of quality music - we just want to get our releases out to the ppl
that wants/needs it. More pre sites fills this purpose.
g r e e t s
CMS CMG diss DPS HiT2000 IGR JUST kw miso NuHS om sb sfE smc soup YOU
s p e c i a l g r e e t s g o e s o u t t o : SChiZO
_ _ _ _ _ _ _ _ _
_ - - _ - - _ - - _ - - _ - - _ - - _ - - _ - - _ -
i f y o u l i k e t h i s r e l e a s e t h e n g e t y o u r l e e c
h a s s d o w n t o y o u r l o c a l r e c o r d d e a l e r a n d b
u y t h e s t u f f b e c a u s e t h i s i s m a d e b y r e a l a r
t i s t s a p a r t f r o m t h e m a i n s t r e a m p r o d u c t s
t h a t s i n t h e t o p 2 5 l i s t i n t h a t s t o r e y o u w i
l l v i s i t r i g h t a w a y t o s h o w y o u r s u p p o r t t o
t h e t r u e a r t i s t s o f m u s i c - t h e f u f f e n s a r t
i s t s t h a t s i n i t f o r t h e m u s i c n o t t h e m o n e y
_ _ _ _ _ _ _ _ _
_ - - _ - - _ - - _ - - _ - - _ - - _ - - _ - - _ -
a l w a y s d o r e m e m b e r : s t a y f u f f e n s f o r l i f e
⌐ FuFFENS 2 0 0 3