Gato Barbieri - Standards: Lost And Found 2 - COMPACT DISCS [CD]

Gato Barbieri - Standards Lost And Found 1 - What can be heard in this unreleased studio recording can be considered a Gato Barbieri in purity. ... May I add, that I am proud to be part of this recording. Franco D'Andrea. The of these recordings fills a gap in Barbieri's discography. The artist we met in his first work as a single leader, In Search Of The Mystery (1967), moved in the realm of pure improvisation, going in the direction of the spirituality of Albert Ayler and Pharoah Sanders. In the Roman sessions, however, Barbieri recovers his original matrix deeply rooted in the language of John Coltrane and, in part, in that of the early Ornette Coleman. To some extent it is a completely new Barbieri that emerges from these recordings.

A skaterdater-surfin' safari-watusi dancin' beat!Released at the crest of surf rock, Drums A Go-Go contains searing guitar work (just listen to InchCasbah!Inch) - not to mention some of the most insanely indelible drum breaks - on record. Cut all analog!While the title track hit #118 on Billboard's Hot 100 in October of '65, Nelson's instrumental versions of InchWhittier Blvd.Inch (by Thee Midnighters), InchI Like It Like ThatInch (by Pete Rodriguez), InchWooly BullyInch (by Sam the Sham & the Pharaohs) and Inch(I Can't Get No) SatisfactionInch (by the Rolling Stones) are equally as vibrant and incorporate both fuzzy guitars and rock 'n' roll sax, a combination that not only shows the direction music was going, but the pre-psychedelicized style of popular teen beat groups during the mid '60s. Nelson's dynamic, catchy playing allows the drums to intertwine uniquely with the melody, giving a full, complete sound to the album - despite not having any vocals! Give it a spin, and get to groovin' - it's sure to inspire your next hodad hang out!

Double 180gm vinyl LP pressing. Standards Lost and Found (Volume 2) hosts two compositions by Ornette Coleman (Jayne and When Will The Blues Leave?) a clear homage to the composer, father of free jazz, and an overt demonstration of musical intent and fundamental aesthetic reference. Charlie Parker's Anthropology is respectfully dedicated to a new interpretation of the more recent jazz tradition from which the four musicians descend, as are the two compositions by Thelonious Monk 'Round Midnight and Epistrophy, which, along with Jamal's fresh New Rhumba however, testify to an already much-transformed tradition. Gato's In Search of the Mystery and Gato Blues fit perfectly into the set list and reflect the significant role of the Argentine tenor player who in this way places his compositional signature on the record. Jayne is from Coleman's first album Something Else!!!! from 1958. Anthropology explodes at a tempo of 140 bpm in cut time and the virtuoso exposition of the melody showcases Gato's high technical ability and precise timing. The moment his solo starts Gato gives the impression of a saxophonist who could easily play on all the chord changes using the be-bop language, but deliberately decides not to. New Rhumba was composed and recorded by pianist Ahmad Jamal when he was only 25 years old and had already matured a thoroughly personal style. 'Round Midnight, Thelonious Monk's celebrated ballad from the early 1940s, is included as a tribute to the great pianist, but certainly also because of the extreme beauty of the melody that Gato tackles with no special elaboration while hinting at flickers of high notes and always using a full, harsh sound. Gato Blues bears Barbieri's signature.