Supertramp’s July 1970 debut album simply dubbed Supertramp, wasn’t released in the U.S. until 1977. That sort of distribution shortfall was not unusual in that decade. For an enterprising American traveler in the 1970’s, such a distribution shortfall could add to the purpose of any trip to London where to a Europe-only released record could be purchased and carried carefully home.
The music on the album Supertramp was composed by Supertramp co-founders Rick Davies and Roger Hodgson. The lyrics were written by guitarist Richard Palmer-James mainly because no one else in the band wanted to write any.
The debut album received positive reviews, though Supertramp’s musical innovations so quickly ahead that the first album’s ten songs were dropped from their promotional live mega-tours.
Indelibly Stamped, Supertramp’s second album in 1971, was a major change for the band to the rock sound. This was followed by the group’s multi-platinum albums, Crime of the Century in 1974 and Breakfast in America in 1979.
Supertramp never returned to its first days’ output as musician-poets. Thoughlater hit songs such as Dreamer and Give A Little Bit were written in this early period, which dd to the debut album’s appeal as other of Supertramp’s first songs definitely make for worthwhile listening.
Bankrolled by a Dutch millionaire, Supertramp’s first music was recognized by critics at the time as an admixture of melodic poetry and progressive pop. This would apply to Aubade/I Am Not Like Other Birds of Prey, their debut album’s third track.
Along with Arc, Crucible, and other bands, the song was featured as part of a rare soundtrack for a 1971 UK docufilm called Extremes. The film was directed by 19-year-old Tony Klinger and 21-year-old Mike Lytton and displayed the adventures and pursuits of young people of that era (it can be rediscovered in a 2017 DVD release).
Despite this creativity and critical success, the album Supertramp was a commercial flop. Its follow-up, new rock sound album Indelibly Stamped in 1971,was also a commercial flop. Crisis? What Crisis?
Supertramp, 1971. Roger Hodgson, Frank Farrell, Rick Davies, Kevin Currie, Dave Winthrop
Notwithstanding the discography of a full-fledged English prog-rock group in the rearview mirror, critics over the decades have not grown kinder towards Supertramp’s debut album. Though acknowledging its almost 50 minutes of enjoyable melodies—especially Surely, the lead track, as well as Words Unspoken, Nothing to Show and the 12-minute Try Again—today’s critics, potential upward revisionists, mostly dismiss these initial songs. The mainly constructive criticism observes that Supertramp‘s musical and lyrical effort remains too loosely conceived and, according to a review in AllMusic, wanders “pretentiously.” Meandering instrumentally among pretty patches of subtle melody is, of course, not all bad but, Supertramp’s first songs indulge themselves the pleasure of music making as a new group and forego the necessary compositional rigor to make a more powerful statement sooner.
Following these commercial disasters—and before fame—Supertramp broke up. Co-founders Davies and Hodgson recruited new band-mates. Bassist Frank Farrell and drummer Kevin Currie were replaced with pub rockers John Helliwell on saxophone, Dougie Thompson on bass, and drummer Bob “C.” Benberg. The third album, Crime of The Century, preceded by a massive millionaire-bankrolled promotional campaign, soared to no.1 in the UK —and sowed seeds of a following in the U.S.
Supertramp’s breakthrough hit single in the U.S. was Bloody Well Right in 1975. Written by Supertramp co-founders Rick Davies and Roger Hodgson and sung by Davies (who performs its opening keyboard bars), the song appeared on the newly reconstituted English prog-rock band’s third album, Crime of the Century, released in mid-September 1974. The song features impressive guitar work by Hodgson and by saxman and new recruit John Helliwell.
Bloody Well Right was not Supertramp’s odds-on, or even favored, hit song from the album. That would have been Hodgson’s Dreamer, written when he was 19 years old, on side A. But Dreamer only charted in Canada.
As Crime of the Century went Gold in the U.S. (Diamond in Canada and Platinum in France), listeners in the United States flipped Supertramp’s single and preferred side B.
Bloody Well Right, on side B, climbed to no. 35 on the U.S. Billboard Hot 100 in 1975. A Supertramp classic, it remains a staple “on the radio” and in the band’s live shows. In 1975, with singles from Crime of The Century charting, the bank-rolled group toured the U.S. and filled arenas by giving away most of the tickets.
Crime of the Century was the third studio album by Supertramp and recorded between February and June 1974. Released on September 16, 1974, it was Supertramp’s first Gold record in the U.S. The album produced Supertramp’s breakthrough Top 40 hit single in the U.S., Bloody Well Right. Written by Rick Davies and Roger Hodgson, band members believed that with this album Supertramp had entered into one of its most creatively original periods.
Crisis? What Crisis? is the fourth album by the English progressive-rock band. Recorded in the summer of 1975 in London and Los Angeles, it was released on November 29, 1975. Hastily assembled from second-hand discards of Crime of the Century to capitalize quickly on that album’s recent success, Rolling Stone magazine panned the music on the album, and Supertramp came to believe the project was a low point in their career.
The following album, Even in the Quitest Moments…, released in April 1977, produced another song that Hodgson wrote at 19 years old. Give A Little Bit became a Top 20 hit in the U.S. and Canada and reached no. 29 in the UK. This fifth album repeated virtually Crime of the Century‘s certification achievements. In this period, the band permanently relocated to Los Angeles.
Even in the Quietest Moments… was the fifth studio album by Supertramp. Recorded between November 1976 and January 1977, it was released on April 10, 1977. It became the second Gold record for Supertramp in the U.S. The album produced Give A Little Bit, a Top 20 single in the U.S. and Canada. It was one of the hit songs written by Supertramp cofounder Roger Hodgson when he was 19 years old.
Rock-star success for Supertramp was achieved in 1979 with Breakfast in America. Recorded from May to December 1978, Supertramp’s sixth album was released on March 29, 1979. It became the no.1 LP around the world and, in the U.S., went 4x Platinum, selling over 4 million copies.
Supertramp’s Breakfast in America produced the Top 10 hit, The Logical Song. Written by Roger Hodgson, it became Supertramp’s biggest hit.
SOURCES: The Rolling Stone Encyclopedia Encyclopedia of Rock & Roll, Third Edition, edited by Holly George Warren and Patricia Romanowski, New York: A Rolling Stone Press Book, 2001.
Inner City Blues (Make Me Wanna Holler)—often abbreviated to Inner City Blues—is a song by Marvin Gaye (1939-1984) who released it as the third and final single from his 1971 album, What’s Going On.
The 32-year-old Gaye, who had his first hit song in 1962, had entered into a new and distinct stage of his musical career by the early 1970’s. Like Stevie Wonder, Gaye was one of the Motown artists to first gain complete control over his records. What’s Going On is one of Soul’s and Rhythm and Blues’ first “concept” albums and is considered by many to be not just one of the great albums of all time (though it is that) but the greatest.
The lyrics of Inner City Blues, written by Marvin Gaye and James Nyx and recorded in Detroit, Michigan, depict the conditions of America’s inner-city ghettos and the attitudes of those who live there. Relentlessly bleak economic conditions of these cities’ slums—”Crime is increasing, trigger happy policing, panic is spreading, God knows where we’re heading”— perpetrate denizens’ lives. In a prosperous period in U.S. history such is offset by endless war, spiraling inflation, and an economy geared for permanently and grossly augmenting “haves” and “have nots.”
In Marvin Gaye’s mellifluous tenor voice which had a tremendous three-octave range, the singer relates soulfully and passionately—the multi-track background vocals were also sung by Gaye—his conclusion about “The way they do my life” which makes him “wanna holler and throw up my hands.” The writers’ conclusion about inner-city ghetto conditions in the United States, a rich country that ceaselessly spends its money on “rockets, moon shots,” is that insofar as the ghetto resident: “This ain’t livin’, this ain’t livin’, No, no baby, this ain’t livin’.”
In a career that exemplified the maturation of romantic black pop of the 1960’s, 1970’s, and 1980’s—Gaye had his first hit at 23 years old and died one day before his 45th birthday after he was shot to death by his father following a violent verbal altercation in 1984— his music developed into a palatably popular artistic form that openly explored contemporary society and all manner of politics, including sexual.
In Inner City Blues the talented singer relates his harrowing subject matter and that which it implies by way of a sophisticated and mellow funk style. Detroit-based session musicians, particularly Eddie “Bongo” Brown and Bob Babbitt on bass, who were part of The Funk Brothers that performed on most Motown recordings of the period—added to the record’s sound.
What’s Going On produced three hit singles. All top ten chart bestsellers addressed diverse issues affecting a complicated time—including the war in Vietnam (What’s Going On, #2, 1971), the global biophysical environment (Mercy Mercy Me (The Ecology), #4, 1971) and civil rights and justice (Inner City Blues (Makes Me Want to Holler), #9, 1971).
Inner City Blues (Make Me Wanna Holler) Music and Lyrics: Marvin Gaye and James Nyx
Rockets, moon shots Spend it on the have nots Money, we make it ‘Fore we see it you take it
Oh, make you wanna holler The way they do my life Make me wanna holler The way they do my life
This ain’t livin’, this ain’t livin’ No, no baby, this ain’t livin’ No, no, no Inflation no chance
To increase finance Bills pile up sky high Send that boy off to die Oh, Make me wanna holler
The way they do my life Make me wanna holler The way they do my life Hang ups, let downs Bad breaks, set backs
Natural fact is I can’t pay my taxes Oh, make me wanna holler And throw up both my hands
Yeah, it makes me wanna holler And throw up both my hands Crime is increasing Trigger happy policing
Panic is spreading God knows where we’re heading Oh, make me wanna holler They don’t understand
Mother, mother Everybody thinks we’re wrong Who are they to judge us Simply cause we wear our hair long
Buddy Miles (1947-2008) was an American rock drummer, vocalist, composer, and producer. He was member of Electric Flag (1967) and a member of Jimi Hendrix’s Band of Gypsys (1969–1970). He was founder and leader of the Buddy Miles Express (1968-1994).
How Deep Is Your Love (1977) by the Bee Gees ranks number 375 on Rolling Stone’s list of the 500 Greatest Songs of All Time.1 It sits between White Room (1968) by Cream and Unchained Melody (1965) by The Righteous Brothers. Barry Gibb, the lone surviving Bee Gee today, reportedly said that How Deep Is Your Love is his favorite Bee Gees song. 2 In 2011 it was voted in a TV poll as the UK’s favorite.3 Recorded in the spring of 1977 in anticipation of the album and film Saturday Night Fever to be released later that year— How Deep Is Your Love was released in the U.S. as a single in September 1977. Three months later, after the smash-hit film Saturday Night Fever starring John Travolta was released, How Deep Is Your Love became the number one song in the U.S. on Christmas Eve 1977 and stayed in the top spot for three weeks. Although the song had started on the charts in October 1977, when it reached number one it stayed in the top 10 for four months until April 1978 which, at that time, set a longevity record. There are two official music videos for How Deep Is Your Love featuring the Bee Gees.4
Fig. 1. There are two official music videos performed by the Bee Gees of How Deep is Your Love. The music of the Bee Gees (left to right: Robin, Barry, and Maurice Gibb) and the 1977 film Saturday Night Fever starring John Travolta breathed fire into the disco music craze and helped define the disco era in the late 1970’s.
Fig 2. A huge international pop music hit starting in late 1977, How Deep is Your Love written and performed by the Bee Gees made its way into the Saturday Night Fever: The Original Movie Sound Track album that went Platinum on January 3, 1978 and was certified 16x Multi-Platinum on November 16, 2017. It remains one of the top ten-selling albums of all time.
When the Bee Gees were asked by film producer Robert Stigwood to provide five songs for a film tentatively titled Tribal Rites of the New Saturday Night based on the 1975 New York magazine fiction article about the urban disco scene, they didn’t want to compose music specifically for a film (although Barry did write the title song for Stigwood’s follow-up picture, Grease). It didn’t help that the Bee Gees were given neither a script nor hardly told what the movie plot was about. They offered Stigwood, their longtime manager, songs that they were already working on, namely, Stayin’ Alive, Night Fever, If I Can’t Have You (later sung by Yvonne Elliman), More Than A Woman, and How Deep is Your Love.5 At one early screening with John Travolta and director John Badham, among others, the Bee Gees were pleased though a little surprised when they saw for the first time scenes of the re-titled Saturday Night Fever with their music and lyrics to back it up. Although the music soundtrack at this juncture was demo cuts, the songs they wrote and performed meshed perfectly with the film’s scenes about which they had never been told very much. To be added to their astonishment—as much as anyone else’s there attending that rough cut – is that the Bee Gees had no idea they had embarked on a motion picture that would soon prove to be a milestone in film history. Saturday Night Fever would perfectly capture a moment in time and forever define the disco age.
Fig. 3. John Travolta attended the London premiere of Saturday Night Fever on March 22, 1978 with Kay Edwards.
Following its world premiere in Hollywood on December 7, 1977, Saturday Night Fever became an enormous success. It became Chicago film critic Gene Siskel’s favorite film—soon after, Siskel famously bought Tony Manero’s white suit at a charity auction in 1978 for $2,000. Colleague and friend Roger Ebert writing shortly after Siskel’s death in 1999, believed that Saturday Night Fever had struck Siskel mainly on an emotional level but also for its themes that had impressed him. Other influential film critics were similarly praiseworthy of the film’s subject matter. At the 50th Academy Awards on April 3, 1978 Saturday Night Fever had received only one nomination (John Travolta for Best Actor) in a year where Annie Hall and Star Wars dominated the competition.Robin Gibb later observed that Saturday Night Fever was made on a very low budget, released very late in the year and had no expensive promotion. The film’s word of mouth was good, however, which even included its star, John Travolta, who at its world premiere at then-Mann’s Chinese Theatre admitted watching the musical film on the big screen as if seeing a fantasy or dream for the first time.6
Fig. 4. Tony Manero’s shiny white polyester suit — bought off the rack in Brooklyn for the making of the film Saturday Night Fever— has been compared to a symbol of aspiration and hope in what is otherwise a dark movie.
Conceptually the song How Deep Is Your Love materialized when, working with collaborator Blue Weaver, Barry Gibb’s instigating question to him in beginning to compose it was: “What is the most beautiful chord that you know?”7 It was the first song the Bee Gees composed that ended up in the film Saturday Night Fever. After a creative hit-and-miss process at the piano – and further collaboration with Robin and Maurice – the song was put together in the middle of night in about four hours at the Château d’Hérouville studios in France.8 This was part of the Bee Gees’ usual working process – arriving into the studio around three o’clock in the afternoon and ending their workday near or after midnight – resulting in all of the film’s songs written quickly, with the lyrics finished later and the disco music taking longer.9 The Bee Gees’ falsetto singing had always been emotional, and it was often by way of collaborating with industry talent— other musicians, producers, and the like—that their music developed in new directions. By the time How Deep is Your Love came about, the Bee Gees had a reputation for being open to suggestions, including the personally emotional piano chords Blue Weaver offered the Brothers Gibb that night.10 The creation of How Deep Is Your Love followed a course already prevalent in the Bee Gees musical career – an attitude of collaboration and creativity in the studio that allowed ideas to be suggested, and beautiful melodies to quickly emerge as the result. Though How Deep is Your Love was composed in one sitting, its arrangement and production took longer which changed some of the song’s original structure. The title was based on what the Bee Gees simply maintained was the variety of connections listeners could make with the phrase How Deep is Your Love – and so providing the song with further universal appeal.11 Following the film’s U.S. release by Paramount Pictures on December 14, 1977 Maurice Gibb believed its ultimate success was the combination of its phenomenal 23-year-old star John Travolta and the music soundtrack whose album had already been certified Gold on November 22, 1977 and certified Platinum on January 3, 1978. The combination of star power and music – along with stunning word of mouth and critical acclaim – created a record-shattering synergy for both film and soundtrack album featuring Bee Gees songs making the cultural impact of Saturday Night Fever swift and enduring. How Deep is Your Love remains one of the most anthologized love songs of the modern era. As recently as November 16, 2017, the soundtrack album was certified 16x Multi-Platinum.12
Fig. 5. John Travolta in the 1970’s. Playing 19-year-old Tony Manero in Saturday Night Fever about a teen with a good job at the local hardware store in Brooklyn who is trying to dance his way to a better life. His performance earned the 23-year-old Travolta an Academy Award nomination for Best Actor in a Leading Role that year.
Fig. 6. Brooklyn-born Donna Pescow was a newcomer and played Annette in Saturday Night Fever. Annette is Tony’s former dance partner and would-be girlfriend.
Fig 7. Like Donna Pescow and others in the cast of Saturday Night Fever, co-star Karen Lynn Gorney, John Travolta’s love interest in the film, was a newcomer. Even Travolta who had a swelling fan base because of his ongoing role as Vinnie Barbarino in the popular late 1970’s TV sitcom Welcome Back, Kotter, was not seen as a dance man. Hungry to take his acting career to the next level, Travolta’s energetic dance scenes had critics praising his performance as among the best ever filmed.
Fig. 8. A two-minute scene of disco dancing by John Travolta thrust his energetic performance and the new star into the annals of film history. (This is a portrayal of Travolta as Danny Zuko in Grease.)
Fig. 9. “Robert Stigwood explained to the Bee Gees about this young guy, who every weekend blows his wages at a disco in Brooklyn. He’s got a really truly Catholic family, and he’s got a good job, but he blows his wages every Saturday night. He has his mates with him. Then he comes back and starts the week again, and this goes on every Saturday night. But it’s just this one Saturday night that’s filmed. So that’s what we knew (about a film we were writing music for) except it was John Travolta playing the part…” Maurice Gibb in Bee Gees: The Authorized Biography.
How Deep Is Your Love quickly reached number one internationally in countries such as Canada, Brazil, Finland, Chile, and France. In the Bee Gees’ native England it reached number three which delighted the newly–resurgent pop music group in that they had a top five hit in a country that by the mid-to-late 1970’s saw Punk and New wave rock in the ascendant.13 The Sex Pistols’ God Save the Queen, also released in 1977, was banned on the airwaves by the BBC for its “gross bad taste” though today it ranks number 175 on the Rolling Stone’s Greatest Hits list – 200 slots higher than the Bee Gees’ disco ballad, How Deep Is Your Love. How Deep Is Your Love and the Saturday Night Fever album provided superstar momentum for the Bee Gees’ next projects, but like their careers up to that point, the English-Australian pop-rock band simply continued their readiness to create music. In The Ultimate Biography of the Bee Gees, Blue Weaver understood the Bee Gees’ success during this period was not due to their “virtuosity,” although their falsetto vocals were “brilliant,” but their collaborative working method which they pursued until reaching the final product that satisfied them – and clearly satisfied some part of the rest of the world.14
Fig. 10. In 1978 Barry Gibb observed about Robin and Maurice and himself: “When we were kids, we’d sit on each other’s beds all night and plan our careers. We decided that when we got to the top, we’d have our own office. We wanted to get to a point where we wouldn’t have to ever work again so we could sit back and enjoy everything we had accomplished. A few years ago that seemed forever out of reach. Sometimes I think I’m living that dream now. We’ve never really made it before. If this is indeed the top, then it’s better than what we imagined. It’s a lot of fun.” Bee Gees: The Authorized Biography.As the Bee Gees, Barry and twins Maurice and Robin became one of the world’s biggest bands ever selling more than 220 million records. In 1997 they were inducted into the Rock and Roll Hall of Fame. Maurice died in 2003 and Robin in 2012. In 2017 Barry told CBS News: “So when I lost them all, I didn’t know whether I wanted to go on. ”
Fig. 11. 70-year-old Barry Gibb was honored during Stayin’ Alive: A Grammy Salute to the Music of the Bee Gees in April 2017 where he got up on stage to close out the show to perform a few hit songs.
During one visit to the hospital while Robin was in a coma, Barry sang a song that he had written for him called The End Of The Rainbow.
Song’s recording and release dates – Bee Gees Anthology (songbook) by the Bee Gees, Hal Leonard (1991) and Bee Gees The Authorized Biography, Barry, Robin and Maurice Gibb (as told to David Leaf), Delilah Communications/A Delta special, 1979, p.116.
Didn’t want to compose music for a film – The Ultimate Biography Of The Bee Gees: Tales Of The Brothers Gibb, By Melinda Bilyeu, Hector Cook, Andrew Môn Hughes, 2001, Omnibus Press, London, pp. 411; Hardly told the film plot – Bee Gees The Authorized Biography, Barry, Robin and Maurice Gibb (as told to David Leaf), Delilah Communications/A Delta special, 1979, p.110.
Surprised music with unseen film meshed – Bee Gees The Authorized Biography, Barry, Robin and Maurice Gibb (as told to David Leaf), Delilah Communications/A Delta special, 1979, p.111; Ebert on Siskel’s favorite film – https://www.rogerebert.com/reviews/great-movie-saturday-night-fever-1977 – Retrieved January 24, 2018; other critics’ praise of film- see Pauline Kael, “Nirvana,” The New Yorker, December 26, 1977, pp. 59-60; film low budget, released late- The Ultimate Biography Of The Bee Gees: Tales Of The Brothers Gibb, By Melinda Bilyeu, Hector Cook, Andrew Môn Hughes, 2001, Omnibus Press, London, pp. 411. Regarding the white suit that had been bought off the rack in Brooklyn for the film, its symbolism in Saturday Night Fever has been postulated. Professor Deborah Nadoolman Landis, a designer and historian of film costume stated that the white suit was a symbol of aspiration and hope in an otherwise “dark little movie” – see https://www.theguardian.com/artanddesign/2012/aug/06/john-travolta-white-suit-v-and-a – retrieved January 25, 2018.
Song’s musical concept – The Ultimate Biography Of The Bee Gees: Tales Of The Brothers Gibb, By Melinda Bilyeu, Hector Cook, Andrew Môn Hughes, 2001, Omnibus Press, London, pp. 411-412.
First song composed for Saturday Night Fever, Château d’Hérouville – Bee Gees The Authorized Biography, Barry, Robin and Maurice Gibb (as told to David Leaf), Delilah Communications/A Delta special, 1979, p.109.
Songs written quickly – Ibid., p.109; lyrics later – The Ultimate Biography Of The Bee Gees: Tales Of The Brothers Gibb, By Melinda Bilyeu, Hector Cook, Andrew Môn Hughes, 2001, Omnibus Press, London, p. 415.
Open to suggestions – Bee Gees The Authorized Biography, Barry, Robin and Maurice Gibb (as told to David Leaf), Delilah Communications/A Delta special, 1979, p.107. emotional piano chords – The Ultimate Biography Of The Bee Gees: Tales Of The Brothers Gibb, By Melinda Bilyeu, Hector Cook, Andrew Môn Hughes, 2001, Omnibus Press, London, p. 411-12.
song composing, arrangement, and production – The Ultimate Biography Of The Bee Gees: Tales Of The Brothers Gibb, By Melinda Bilyeu, Hector Cook, Andrew Môn Hughes, 2001, Omnibus Press, London, pp. 409 and 412. Title chose Ibid. p. 412.
Movie’s ultimate success – Bee Gees The Authorized Biography, Barry, Robin and Maurice Gibb (as told to David Leaf), Delilah Communications/A Delta special, 1979, p.112. Costing $3.5 million to make, Saturday Night Fever earned an impressive $237.1 million –see “Saturday Night Fever, Box Office Information”. Box Office Mojo – retrieved May 26, 2014. Soundtrack album certified God and Platinum -http://www.beegees-world.com/bio_gplat.html -Retrieved February 1 , 2018. certified 16x Multi-Platinum on November 16, 2017 – see https://www.riaa.com/gold-platinum/- retrieved January 24, 2018.
Latin jazz ballad “Beautiful Walk” is from Argentine-born saxophonist Leandro “Gato” (the “Cat”)Barbieri’s 50th album, Shadow of the Cat released in September 2002 on Peak Records.
In a six-decade career (Barbieri died in April 2016 at 83 years old) Shadow of the Cat—a Grammy-nominated album for Best Latin Jazz—looked to two major sources for its inspiration: the 30th anniversary of Last Tango in Paris (1972) for which Barbieri won a Grammy Award for his film score and to Barbieri’s huge-toned, raucous yet smooth jazz-pop sound in five albums he made at A&M Records in the mid-to-late-1970’s.
In November 2015 Gato Barbieri received the Latin Grammy Lifetime Achievement Award for his music that has been described as “mystical yet fiery, passionately romantic yet supremely cool.” Around the same time, according to the Blue Note club in Greenwich Village—where the “Cat” first performed in 1985 and, sporting his trademark black fedora hat, had been performing there monthly since 2013—gave his final concert on November 23, 2015.
In 2006 Gato Barbieri was content that in his long musical career he pursued playing different musical styles—jazz, Latin, film orchestration, etc.—and did not limit himself to a single genre.
“What do you play?”
“The jazz people they don’t consider me a jazz musician. If I am Latin, they don’t consider me Latin. So I am here in the middle,” Gato said. “It’s a good thing. You know why? Because they say, ‘What do you play?’ I say, ‘I play my music — Gato Barbieri.’”
The year is 1966. Tenor saxophonist Gato Barbieri is joined by trumpeter Don Cherry, jazz vibraphonist Karl Berger (German, b. 1935) and bassist Bo Stief (Danish, b. 1946). In the mid 1960’s Barbieri and Cherry recorded two albums for Blue Note: Complete Communion and Symphony For Improvisors. In that era Gato also recorded with jazz saxophonist and composer Steve Lacy (1934-2004) and South African pianist Abdullah Ibrahim (b. 1934).
Barbieri’s free jazz meant playing with American jazz double bass player Charlie Haden (1937-2014), American jazz pianist Carla Bley (B. 1936), and many others. The Cat was also found jamming with jazz bassist Stanley Clarke (b. 1951), Brazilian jazz drummer and percussionist Airto Moreira (b. 1941), Cuban composer Chico O’Farrill (1921-2001) and American jazz musician Lonnie Liston Smith (b.1940).
Barbieri recorded a handful of albums on the Flying Dutchman label in the early 1970s and then signed with Impulse where he recorded his classic “Chapter Series” which included Latin America, Hasta Siempre, Viva Emiliano Zapata and Alive in New York. In 2015 Gato Barbieri received the Latin Grammy Lifetime Achievement Award. His music is described as “mystical yet fiery, passionately romantic yet supremely cool.”
Gato Barbieri and Italian-born wife Michelle. Married in 1960 they moved to Rome in 1962, where Gato began collaborating with American jazz trumpeter Don Cherry (1936-1995). In 1996 Gato Barbieri married his wife Laura and they soon had Christian, their son. After Gato’s death on April 2, 2016 at 83 years old, Laura Barbieri told The Associated Press: “Music was a mystery to Gato, and each time he played was a new experience for him, and he wanted it to be that way for his audience.”
Gato Barbieri’s free-jazz playing in the late 1960s and early 1970s along with his audacity to blend the improvised style with a cutting-edge mining of Latin jazz in multi-artist projects attracted Italian film director Bernardo Bertolucci to recruit Barbieri to compose the score for his 1972 film Last Tango in Paris starring Marlon Brando and Maria Schneider. Bertolucci was seeking his own musical blend from the young Argentine musician who could incorporate jazz, strings, and tangos into his score to embody the film’s chaos of spirit and ferocious sexuality with a nod to European intellectualism and Hollywood popularity.
Gato’s musical score became an instant international sensation and professional triumph for the 41-year-old musician winning a Grammy Award for best instrumental composition in 1973.
Collaborating with Herb Alpert.
Fireflies is the lead track from Gato’s best-selling Caliente! album for A&M 1976 produced by Herb Alpert. Released at the beginning of the peak of the jazz-fusion and disco eras, Gato Barbieri plays with sizzling heat relying on tango-infused Argentine fluency and as well as the influence of Sonny Rollins (b.1930), John Coltrane (1926-1967) and Pharoah Sanders (b. 1940).
Tango is tragedy.
“Always in the tango is tragedy,” said Barbieri in 1997. “She leaves him, she kills him. It’s like an opera — but it’s called tango.” Caliente! is beautifully arranged and executed which makes for enjoyable listening. The concept of strings combined with rhythmic danceable funk anted up Barbieri’s raucous sound and made Caliente! a successful primogeniture to Herb Alpert’s instrumental Rise in 1979 which became a very big international hit.
Gato Barbieri performed benefit concerts, one the Friends of Chile benefit concert, Madison Squae Garden, May 6, 1974. Gato Barbieri’s five albums on A&M Records in the late 1970s featured a more soothing jazz-pop sound. In the 1980s the “cat” kicked it up a notch for Para Los Amigos (1984), an album which spotlighted the rock-influenced South American sound.