Leandro “Gato” Barbieri was an eclectic musician, able to go from free jazz to ballad “Last Tango in Paris” , or protest in titles and extra expressions sound to a mundane life in a New York who chose as their homeland long ago. Argentines have felt relatively far from this artist who moved to the United States in the 60s. Maybe because he did the same and felt more comfortable as a world citizen than as local representation and, next to Lalo Schifrin , whose orchestra emerged years earlier, was the jazzy more known on the planet.
he was born in Rosario, on November 28, 1932. he was the son of a carpenter and nephew of saxophonist and clarinetist Mario Barbieri . It was in the city where he began studying the clarinet at the same conservatory where his brother Ruben , who died a decade ago made his first forays into the trumpet. In 1947, he moved with his family to Buenos Aires. Clarinet happened to the alto saxophone. He joined the orchestra of René Cospito , first, and Schifrin after. It is definitely reconverted to the tenor instrument and organized their own bands.
The Buenos Aires jazz scene he found a brace for his musical fantasies. He “escaped to Brazil and was based in Rome, in the early ’60s. He worked with guitarist Jim Hall and trumpeter Ted Curson . In 1965 he moved to Paris and met Don Cherry . and before the end of the decade he recorded with him and made his first two solo albums, “in Search of the Mystery” and <. b> “Obsession”
for those times must date what ended up being the consolidation of its own language: that indescribable concoction that many, lack of a better option, reduce the concept “Latino jazz.” That heterodoxy allowed to add to their projects Argentines and Domingo Cura or Adalberto Cevasco and mixed with the sound of rock and pop, making music for film and attached to the Liberation Music Orchestra Charlie Haden , be delirious with forms and improvisational freedom and take advantage of gender and particularly of Latin American ritmos-, reach a huge popularity as sounder “Last Tango in Paris ” Bertolucci, or musical “Calle 54″ Fernando Trueba and leave less memory for their contributions to other Argentine and American films, from bebop and finish in many other parts.
his music crossed the “standards”, the Argentine folklore, tango, pop, rock, bebop and even a little way praised sound and music “franelera” music. He paid tribute to Bolivia, the Third World , the Che Guevara or Emiliano Zapata in the titles of his works. It was associated with the same comfort with Don Cherry, Carlos Santana, Carla Bley, Schifrin, Haden or Cure .
From a young age, was husband-and in some good measure, also son of Italian extravagant Michelle , whose death in 1995 affected him a lot. He led for nearly two decades one triple bypass that significantly reduced its activity in recent years. And I had a new partner in Laura during the last stage of his life, which he had to inform the press about his death.
He visited very sporadically Argentina. The last time was in 2000, when he came to perform at the Grand Rex in front of a combo of musicians from our country. He fell ill with pneumonia and died last Saturday at a hospital in New York.
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