Limited double hand-numbered 180gm vinyl LP pressing housed in gatefold jacket. Chet Baker showed with his music that little bit of dark substance that exists in the human being - the shadow side - just as very few other jazz musicians have been able to do. However, such a reading that looks for traces of anguish and self-destruction in every note - and which has also been translated into a couple of films - has ended up overshadowing something very important: namely, that Chet Baker was a top-notch jazz musician, the creator of a unique and personal poetics, an interpreter who did not wallow in his own torments but who also knew how to take less introspective paths, including a superfine and very lively swing. In this final phase of his career, Baker often liked to have groups without drums with him because, in addition to allowing him to maintain a muffled volume in his singing and trumpet playing, the drumless situation guaranteed him greater freedom. Only the double bass player was left to keep time, a role here entrusted to a solid Knauer. In Ferrara, a sensitive French pianist, Michel Graillier, took the stage; in those years he was looking for a synthesis between the energy of McCoy Tyner and the harmonic language of Bill Evans. Finally, the presence of a piano allowed Stilo to limit the use of the other harmonic instrument, the guitar, in favor of the flute.
Chet Baker showed with his music that little bit of dark substance that exists in the human being - the shadow side - just as very few other jazz musicians have been able to do. However, such a reading that looks for traces of anguish and self-destruction in every note - and which has also been translated into a couple of films - has ended up overshadowing something very important: namely, that Chet Baker was a top-notch jazz musician, the creator of a unique and personal poetics, an interpreter who did not wallow in his own torments but who also knew how to take less introspective paths, including a superfine and very lively swing. Chet Baker's music had characteristics of it's own. Of a bebop nature in the fast pieces, he had in solos that complex and pulsating way that characterized this style. He differed from it in the soft timbre of the trumpet, which rarely indulged in the "flare-ups" typical of the boppers, and above all for the insistent use of pauses. These were precisely one of the cornerstones of his musical language. In the ballads the trumpeter-singer expanded them to the point of absurdity (and so did with the notes), making them spaces charged of meaning, as can be seen in the somber I'm a Fool to Want You, made famous by Billie Holiday, and also in the serene In a Sentimental Mood. In this final phase of his career, Baker often liked to have groups without drums with him because, in addition to allowing him to maintain a muffled volume in his singing and trumpet playing, the drumless situation guaranteed him greater freedom. Only the double bass player was left to keep time, a role here entrusted to a solid Knauer. In Ferrara, a sensitive French pianist, Michel Graillier, took the stage; in those years he was looking for a synthesis between the energy of McCoy Tyner and the harmonic language of Bill Evans. Finally, the presence of a piano allowed Stilo to limit the use of the other harmonic instrument, the guitar, in favor of the flute.
Double vinyl LP pressing. The release 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.
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 release 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.
Gato Barbieri - Standards: Lost And Found 2 - "Gives me the chills! I feel as though Gato has never left us..." Laura Barbieri, wife of Gato Barbieri - 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.
Gerry Mulligan - Nocturne In the role of leader, Mulligan prepared scores that always made jazz a conversation between musicians. Playing was first and foremost an exchange of ideas. Mulligan had an unwavering sense of logic and had shown it from a very young age. The first great result came in the historic recordings of "Birth of the Cool": the leader was Miles Davis but the eminence grise was above all this boy in his early twenties. "It was a concert recorded in Bologna exactly the day after Jeru's sixty-fifth birthday. For that evening in Bologna Mulligan had brought his trusty Dean Johnson and RonVincent, who accompanied him in the last part of his career (he would die a little less than four years later). At the piano sat Harold Danko, whose contribution in mainstream contexts has always been first-rate. And yet his gaze, his sense of humor, his style - and anyone who attended one of his concerts can confirm this - everything has remained lively: as if the crew cut was no longer in his head but somewhere in his soul. Furthermore, while maintaining his sense of logic unchanged, this mature Mulligan knows how to get to the heart of things on stage. If he has to swing, he does it with all the warmth possible. Of the compositions from his golden years, such as Line for Lyons and Walkin' Shoes, he gives us versions that bring memory back to life. But it is in the more intimate pieces that we find the art of the latest Mulligan at it's best. Among these stands out Song for Strayhorn, a tribute to Duke Ellington's right-hand man. Billy Strayhorn was perhaps the musician who influenced him the most in his youth as a composer and arranger. For us who listen to him in Bologna, Mulligan finds the sincerest and most emotional notes to honor that little great man. "
Double vinyl LP pressing. In the role of leader, Mulligan prepared scores that always made jazz a conversation between musicians. Playing was first and foremost an exchange of ideas. Mulligan had an unwavering sense of logic and had shown it from a very young age. The first great result came in the historic recordings of "Birth of the Cool": the leader was Miles Davis but the eminence grise was above all this boy in his early twenties.
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.
