Artist.......: Gato Barbieri
Album........: Chapter Three Viva Emiliano Zapata
Label........: Verve/Impulse
Genre........: Jazz
Catnr........: B0012697-02
source.......: CDDA
rip.date.....: Oct-12-2009
str.date.....: Jun-30-2009
quality......: VBR/44,1Hz/Joint-Stereo
Url..........: www.gatobarbierinewsletter.com

track title time

01. Milonga Triste 05:03
02. Lluvia Azul 07:48
03. Sublime 05:57
04. Padrida 04:49
05. Cuando Vuelva a Tu Lado 05:31
06. Viva Emiliano Zapata 06:09

Runtime 35:17 min
Size 55,9 MB


Release Notes:

Chapter Three: Viva Emiliano Zapata is the third of
the four excellent chapters in saxophonist and
composer Gato Barbieris 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 OFarrill. 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
Barbieris live sets, its 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. OFarrill 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. Its
a breathtaking finish to a stellar recording, and
of the four chapters in the series, the one most
accessible to most jazz fans.

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