Amazon.com
Gato Barbieri possesses one of the most potent tenor saxophone sounds ever heard, a personal mix of throaty gravel and sweet, singing overtones that can grind its way through thickets of pulsing rhythm or soar overhead. The tracks here come from 1973 to 1979 and cover both Barbieri's years with Impulse, when he was emphasizing Latin polyrhythms and heated improvisation, and the increasing pop emphasis of his years with A&M. "To Be Continued" and "Marissea" are the earliest performances, recorded in Barbieri's native Rio de Janeiro with the saxophonist ecstatically honking his way through a forest of indigenous percussion. The 10-minute version of "Bahia" from New York's Bottom Line is another highlight, with Barbieri ricocheting and exploding off a six-man rhythm section, while the lilting "Nunca Mas" is further lightened by Dino Saluzzi's bandoneon. Barbieri's balladry is displayed with big bands on the opening "Cuando" and "Speak Low," and he forms a forceful partnership with Carlos Santana on "Latin Lady." --Adam Rains
Product description
Gato Barbieri ~ Gato Barbieri's Finest Hour, ISBN13: B00004XSQ5 ISBN10: B00004XSQ5 Material Type: audioCDAmazon.com
Gato Barbieri possesses one of the most potent tenor saxophone sounds ever heard, a personal mix of throaty gravel and sweet, singing overtones that can grind its way through thickets of pulsing rhythm or soar overhead. The tracks here come from 1973 to 1979 and cover both Barbieri's years with Impulse, when he was emphasizing Latin polyrhythms and heated improvisation, and the increasing pop emphasis of his years with A&M. "To Be Continued" and "Marissea" are the earliest performances, recorded in Barbieri's native Rio de Janeiro with the saxophonist ecstatically honking his way through a forest of indigenous percussion. The 10-minute version of "Bahia" from New York's Bottom Line is another highlight, with Barbieri ricocheting and exploding off a six-man rhythm section, while the lilting "Nunca Mas" is further lightened by Dino Saluzzi's bandoneon. Barbieri's balladry is displayed with big bands on the opening "Cuando" and "Speak Low," and he forms a forceful partnership with Carlos Santana on "Latin Lady." --Adam Rains
Product description
Gato Barbieri ~ Gato Barbieri's Finest Hour, ISBN13: B00004XSQ5 ISBN10: B00004XSQ5 Material Type: audioCD , ISBN13: B00004XSQ5 ISBN10: B00004XSQ5 Material Type: audioCD
Amazon.com
Gato Barbieri possesses one of the most potent tenor saxophone sounds ever heard, a personal mix of throaty gravel and sweet, singing overtones that can grind its way through thickets of pulsing rhythm or soar overhead. The tracks here come from 1973 to 1979 and cover both Barbieri's years with Impulse, when he was emphasizing Latin polyrhythms and heated improvisation, and the increasing pop emphasis of his years with A&M. "To Be Continued" and "Marissea" are the earliest performances recorded in Barbieri's native Rio de Janeiro with the saxophonist ecstatically honking his way through a forest of indigenous percussion. The 10-minute version of "Bahia" from New York's Bo...
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Amazon.com
Gato Barbieri possesses one of the most potent tenor saxophone sounds ever heard, a personal mix of throaty gravel and sweet, singing overtones that can grind its way through thickets of pulsing rhythm or soar overhead. The tracks here come from 1973 to 1979 and cover both Barbieri's years with Impulse, when he was emphasizing Latin polyrhythms and heated improvisation, and the increasing pop emphasis of his years with A&M. "To Be Continued" and "Marissea" are the earliest performances, recorded in Barbieri's native Rio de Janeiro with the saxophonist ecstatically honking his way through a forest of indigenous percussion. The 10-minute version of "Bahia" from New York's Bottom Line is another highlight, with Barbieri ricocheting and exploding off a six-man rhythm section, while the lilting "Nunca Mas" is further lightened by Dino Saluzzi's bandoneon. Barbieri's balladry is displayed with big bands on the opening "Cuando" and "Speak Low," and he forms a forceful partnership with Carlos Santana on "Latin Lady." --Adam Rains
Product description
Gato Barbieri ~ Gato Barbieri's Finest Hour, ISBN13: B00004XSQ5 ISBN10: B00004XSQ5 Material Type: audioCDAmazon.com
Gato Barbieri possesses one of the most potent tenor saxophone sounds ever heard, a personal mix of throaty gravel and sweet, singing overtones that can grind its way through thickets of pulsing rhythm or soar overhead. The tracks here come from 1973 to 1979 and cover both Barbieri's years with Impulse, when he was emphasizing Latin polyrhythms and heated improvisation, and the increasing pop emphasis of his years with A&M. "To Be Continued" and "Marissea" are the earliest performances, recorded in Barbieri's native Rio de Janeiro with the saxophonist ecstatically honking his way through a forest of indigenous percussion. The 10-minute version of "Bahia" from New York's Bottom Line is another highlight, with Barbieri ricocheting and exploding off a six-man rhythm section, while the lilting "Nunca Mas" is further lightened by Dino Saluzzi's bandoneon. Barbieri's balladry is displayed with big bands on the opening "Cuando" and "Speak Low," and he forms a forceful partnership with Carlos Santana on "Latin Lady." --Adam Rains
Product description
Gato Barbieri ~ Gato Barbieri's Finest Hour, ISBN13: B00004XSQ5 ISBN10: B00004XSQ5 Material Type: audioCD , ISBN13: B00004XSQ5 ISBN10: B00004XSQ5 Material Type: audioCD
Gato Barbieri possesses one of the most potent tenor saxophone sounds ever heard, a personal mix of throaty gravel and sweet, singing overtones that can grind its way through thickets of pulsing rhythm or soar overhead. The tracks here come from 1973 to 1979 and cover both Barbieri's years with Impulse, when he was emphasizing Latin polyrhythms and heated improvisation, and the increasing pop emphasis of his years with A&M. "To Be Continued" and "Marissea" are the earliest performances, recorded in Barbieri's native Rio de Janeiro with the saxophonist ecstatically honking his way through a forest of indigenous percussion. The 10-minute version of "Bahia" from New York's Bottom Line is another highlight, with Barbieri ricocheting and exploding off a six-man rhythm section, while the lilting "Nunca Mas" is further lightened by Dino Saluzzi's bandoneon. Barbieri's balladry is displayed with big bands on the opening "Cuando" and "Speak Low," and he forms a forceful partnership with Carlos Santana on "Latin Lady." --Adam Rains
Amazon.com
Gato Barbieri possesses one of the most potent tenor saxophone sounds ever heard, a personal mix of throaty gravel and sweet, singing overtones that can grind its way through thickets of pulsing rhythm or soar overhead. The tracks here come from 1973 to 1979 and cover both Barbieri's years with Impulse, when he was emphasizing Latin polyrhythms and heated improvisation, and the increasing pop emphasis of his years with A&M. "To Be Continued" and "Marissea" are the earliest performances recorded in Barbieri's native Rio de Janeiro with the saxophonist ecstatically honking his way through a forest of indigenous percussion. The 10-minute version of "Bahia" from New York's Bo...