Category Archives: Music

Christmas Choral Concert: Bel Canto Chorus, Basilica of St. Josaphat, Milwaukee, Wisconsin.

Milwaukee, Wisconsin’s independent 100-voice Bel Canto Chorus–founded in 1931–performs carols and hymns in the historic Basilica of St. Josaphat, a Polish-style church in Milwaukee completed in 1901 and boasting one of the largest copper domes in the world.

The Bel Canto Chorus is made up of singers from throughout southeastern Wisconsin and northeastern Illinois. Their Christmas concert is one of their most locally popular of the year and its weekend of Christmas concerts is often sold out.

In this 2012 performance, Music Director Richard Hynson conducts. Hynson has been music director of the Bel Canto Chorus since 1987 and in 2012 received the American Prize in Choral Conducting, Community Choral Division. The Bel Canto Chorus has an impressive international performance portfolio, including performances at the Spoleto Music Festival in Italy and music festivals in France, the UK, Ireland, Canada and Argentina and Uruguay.

This wonderful performance features the Stained Glass Brass and Bel Canto Boy Chorus, both conducted by Ellen Shuler.

PROGRAM:
Once in Royal David’s City – H.J. Gauntlett
Ding Dong Merrily on High – George Radcliffe Woodward
A Spotless Rose – Herbert Howells
O Come, All Ye Faithful – J.F. Wade
Welcome All Wonders – Richard Dirksen
Gloria-John Rutter
Silent Night-Franz Grüber
Joy To The World – George Frideric Handel
We Wish You A Merry Christmas – arranged by John Rutter

This performance is approximately one hour.

Notes©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means, electronic or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

Christmas Choral Concert: The Tuskegee University Golden Voices Choir, University Chapel, Tuskegee University, Tuskegee, Alabama.

Booker T. Washington (1856-1915) was called “The Sage” of Tuskegee Institute outside Montgomery, Alabama. Founded by Washington in 1881, the Institute thrives today as Tuskegee University, home to more than 3,000 students from the U.S. and dozens of foreign countries.

The historically African-American college boasts several academic distinctions today, especially in the broad range of the sciences, engineering, medicine and math. This stems from the coeducational school’s founding value of industrial education.

Booker T. WashingtonBooker T. Washington.

Tuskegee is home to the first bioethics center in the United States: the National Center for Bioethics in Research & Health Care. Founded in 1999, the Center is devoted to the exploration of the core moral issues which underlie research and medical treatment of African-Americans as well as other under-served populations by bringing together in dialogue the sciences, humanities, law and religion.

In addition to excellence in these important academic fields, Tuskegee, with over 60 degree programs, offers study in the Liberal Arts, Fine Arts, and Humanities. This includes The Tuskegee University Golden Voices Choir in the Department of Fine & Performing Arts.

Tuskegee’s first singing groups were organized by Washington as early as 1884 with the choir formally founded by Washington in 1886. Booker T. Washington, who grew up in slavery as a child, had witnessed music and singing’s central value to the African-American experience.

In chapter one of his highly readable and interesting American classic autobiography, Up From Slavery, he writes: “Finally the war closed, and the day of freedom came. It was a momentous and eventful day to all upon our plantation. We had been expecting it. Freedom was in the air, and had been for months… As the great day drew nearer, there was more singing in the slave quarters than usual. It was bolder, had more ring, and lasted later into the night. Most of the verses of the plantation songs had some reference to freedom. True, they had sung those same verses before, but they had been careful to explain that the “freedom” in these songs referred to the next world, and had no connection with life in this world. Now they gradually threw off the mask, and were not afraid to let it be known that the “freedom” in their songs meant freedom of the body in this world.“

Washington insisted that Tuskegee’s always augmenting student body at the Christian nondenominational school sing spirituals at weekly Chapel worship services. Washington, and all Tuskegee’s successor presidents to the present day, have maintained a deep love and appreciation for the arts, especially above all music. Booker T. Washington wrote the students, exhorting them: “…If you go out to have schools of your own, have your pupils sing [Negro spirituals] as you have sung them here, and teach them to see the beauty which dwells in these songs…”

In each academic year the Tuskegee University Golden Voices Choir performs extensively throughout the state of Alabama, as well as nationally and internationally (Michigan, Ohio, Indiana, and Canada in 2018).

Their Christmas Concert is held each December in the University Chapel under the direction of Dr. Wayne Anthony Barr. Dr. Barr is assisted by Mrs. Brenda Shuford at the piano who herself is a lifelong music educator and ordained minister at her Baptist church in Montgomery. Also taking significant part is Warren L. Duncan who heads the Department of Fine & Performing Arts at Historic Tuskegee University.

The choir has had a momentous performance history performing before American presidents and this entire concert offers the listener the flavor of its wonderful spirit and deep talent shared at Christmas-time.

The concert is approximately two hours and fifteen minutes.

Notes©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means, electronic or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

Christmas Choral Concert: The Angeles Chorale, First United Methodist Church, Pasadena, California, performs John Rutter’s “Gloria.”

For over 40 years, the Angeles Chorale has brought inspiring choral music to greater Los Angeles, California. It is an all-volunteer choral group comprised of about one hundred voices. The Angeles Chorale was founded in 1975 as one of the local Valley Master Chorales and merged in 1987 with California State University Northridge’s Masterworks Chorale under the baton of Artistic Director John Alexander. For the next nine years Alexander led the assemblage into a professional standard, and changed its name to the Angeles Chorale. Donald Neuen took over the podium in the 1996-1997 season. Neuen, Director of Choral Activities at UCLA, focused the chorale’s repertoire on classical music masterworks for chorus and orchestra such as Bach, Beethoven, Brahms, and Mahler. For the 2010-2011 season, Neuen handed the baton to its present-day Artistic Director Dr. John Sutton, who had been with the chorale since 2004. Sutton continues to actively study with Professor Neuen, now retired, among others, and utilizes the Angeles Chorale’s versatility and mastery in classic music and current music in concert programming.

While only about twenty minutes long, John Rutter’s chorale masterpiece Gloria is reputed to be a challenging work – and this performance at First United Methodist Church Pasadena on December 15, 2012, while continuing to strive for perfection in minor technicalities, remains overall excellent. The Angeles Chorale really takes the three movement work as its own. This is a musical performance that is vibrant, active, personal, alive, and while not perhaps the most refined performance of this favorite work on record, it provides the listener with an aural experience that leaves one on the edge of their seat which is a power not typically found in other performances. This engaging vibrancy could be part of Sutton’s ease and familiarity with popular musical forms, such as for film and television, that infuses this choral piece’s unique harmonies, structures, and rhythms with a branded verve and, if imperfectly, then confidently based on the chorale and brass’s obvious performative exuberance and enjoyment.

John Rutter’s Gloria is the English composer’s musical setting of parts of the Latin Gloria which is a Christian hymn. Rutter’s work was written in 1974 and has been part of the Christmas concert tradition ever since. The Latin Gloria is also known as “The Hymn of the Angels” because they are the words the angels sang when, in Luke 2:14, the angelic host hovered over the shepherds in the field to announce Christ’s birth. “Gloria in excelsis Deo,” the shepherds heard the angels sing, “Glory to God in the highest.” (20.23 minutes).

  1. Allegro vivace – “Gloria in excelsis Deo”
  2. Andante – “Domine Deus”
  3. Vivace e ritmico – “Quoniam tu solas sanctus.”

The performance is approximately 20 minutes.

Notes©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means, electronic or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

Christmas Choral Concert: St. Bavo Cathedral Choir, Haarlem, Netherlands.

The St. Bavo Cathedral Choir performs Christmas carols and other seasonal music for voice, many in modern settings. Recorded in Haarlem in Advent 2012 (December 16) in the Cathedral Basilica St. Bavo –not the iconic Grote Kerk in Haarlem’s main square but the Catholic church constructed between 1895 and 1930 – the program includes well-known carols along with Anton Diabelli’s Pastoral Mass In F Major For Solos, Chorus and Orchestra, Op. 147, and excerpts from Benjamin Britten’s 11-part choral piece, A Ceremony of Carols, Op. 28. Fons Ziekman conducts the Promenade Orchestra and Sanne Nieuwenhuijsen directs the chorus with soloists Jasper Schweppe, Anouk van Laake, Floris Claassens, Hidde Kleikamp and Frank de Ruijter. The impressive vocal and orchestral ensemble is accompanied by Ton van Eck on organ and Auréli Husslage on harp.

Program:
John Francis Wade (1711-1786) : Oh, come all ye faithful
Anton Diabelli (1781-1858): Pastoral Messe in F-dur, op.147
Willcocks: The First Nowell
Benjamin Britten (1913-1976): A Ceremony of Carols
Richards: Over the Country
Britten: A New Year Carol
Felix Mendelssohn (1809-1847): Hark the herald angels sing
Vaughan Williams (1872-1958): Fantasia on Christmas Carols

The concert is 1 hour, 3 minutes and 48 seconds long.

Notes©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means, electronic or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

How Deep Is Your Love: The Bee Gees’ first hit song for “Saturday Night Fever” still defines the Disco Age.

By John P. Walsh

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

There are two official music videos performed by the Bee Gees of How Deep is Your Love.

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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.
albumA 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.

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John Travolta arriving at the London premiere of Saturday Night Fever on March 22, 1978 with companion 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

Stigwood and Bee Gees

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

John Travolta.

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.

Donna Pescow and John Travolta

Donna Pescow as Annette and John Travolta as Tony. In Saturday Night Fever, Annette is Tony’s former dance partner and would-be girlfriend.

Karen Lynn Gorney and John Travolta.

Like Brooklyn-born 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.
saturdaynightfever

This two-minute scene of disco dancing by John Travolta thrust his energetic performance into the annals of film history.

John Travolta as Tony Manero

“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.
Sat Night Fever

Tony Manero’s mother and father (Flo Bovasso and Val Bisoglio) had other priorities than Tony’s future.

Sat Night Fever

Tony’s friends Bobby C. (Barry Miller), Double J. (Paul Pape), and Joey (Joseph Cali).

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

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The Bee Gees in 1977.

Bee Gees 1978.

Robin, Maurice, and Barry Gibb in 1978. Barry said that year: “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.

Barry Gibb 2017.

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. ”

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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.

Barry Gibb 2012

Barry at his brother Robin’s funeral in England in June 2012.

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.
John Travolta and Barry Gibb Bee Gees Tribute Grammys 2017.

NOTES:

  1. Rolling Stones List – https://www.rollingstone.com/music/lists/the-500-greatest-songs-of-all-time-20110407 – Retrieved January 19, 2018.
  2. Barry Gibb’s favorite song – The Bee Gees: 35 Years of Music, Billboard: 27. March 24, 2001.  – Retrieved September 13, 2017.
  3. TV poll – https://web.archive.org/web/20121019120053/http://www.itv.com/beegees/ – Retrieved September 13, 2017.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. Number one hit internationally – “Songs Written by the Gibb Family on the International Charts – Part 3”(PDF). http://www.brothersgibb.org/download/page-3.pdf – Retrieved January 24, 2018; number 3 in Britain – 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. 421.
  14. Continued with their readiness to work – 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. 467.©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means, electronic or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

Anglo-American musical duo: Flo Morrissey and Matthew E. White.

English singer and songwriter Flo Morrissey (b. 1994) and Richmond, Virginia-based producer and musician Matthew E. White (b. 1982) teamed up for a collaborative full duet album of ten cover songs called Gentlewoman, Ruby Man. It was released in January 2017 by Glassnote Records. Following months of preparation, the cover songs were selected from a wide range of musical artists and recorded in 10 days at White’s Spacebomb Studios in downtown Richmond. The album’s first track is their cover version of Little Wings’ Look At What The Light Did Now (3:21 minutes). Little Wings is a band founded in the late 1990’s in San Luis Obispo, California, by Alabama-born indie rocker Kyle Field (b. 1972). The original Little Wings version of the song is a vocal duet with acoustic guitar released in 2002.

Meeting at a music event in London in October 2015Matthew White had first learned about Flo Morrissey from an article about her on The Guardian websitethe busy English and American artist each signed to two different record labels found out they worked well together. Both of them liked recording cover versions of great but also personally resonating songs as it allowed them to reach a new generation of listeners as well as to focus on their vocal performances and the songs’ production values. After the duo compiled a list on Spotify of around 500 songs they chose their own list of ten songs based not so much on what they went into the project expecting to do but newer material and even R&B resulting in a diverse group of musical artists, such as Leonard Cohen, Frank Ocean, the Bee Gees, and James Blake.

Gentlewoman, Ruby Man tracklist:
1. Look At What The Light Did Now (Little Wings Cover)
2. Thinking ‘Bout You (Frank Ocean Cover)
3. Looking For You (Nino Ferrer Cover)
4. Color Of Anything (James Blake Cover)
5. Everybody Loves The Sunshine (Roy Ayers Cover)
6. Grease (Bee Gees Cover)
7. Suzanne (Leonard Cohen Cover)
8. Sunday Morning (Velvet Underground Cover)
9. Heaven Can Wait (Charlotte Gainsbourg Cover)
10. Govindam (George Harrison Cover)

 

Irish Folk Song: Bríd Óg Ní Mháille (Young Bridget O’Malley).

 

Featured Image is La Ghirlandata. Dante Gabriel Rossetti (1828-1882). 1873. Oil on canvas. 124 x 85 cm. Guildhall Gallery, London. City of London Corporation.

 

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Bríd Óg Ní Mháille is an Irish Gaelic folk song about a young man who lost his love, “the beauty of Oriel,” to another suitor. This painting is Clytie by French (born English) Symbolist painter Louise Welden Hawkins (1849-1910). Clytie is a Greek mythological figure whose love was unrequited by Helios, the Sun god.

St Brighid of Ireland
All variations of the name Brigid have the Irish word brígh, which means “fire,” as its root word.

By John P. Walsh

In Ireland a generation ago the girl’s first name of Brigid (along with Mary) was one of the island’s most popular. Growing up in Chicago in the 1960s and 1970s, it seemed that a lot of Irish-American girls were named Brigid, or wished to be. By the 2010s the name of Brigid was no longer, in Ireland at least, very popular as other girls’ names replaced it.1 In Ireland the name Brigid is rendered in a healthy variety of ways. The well-known Bridget is the English variant. In this Irish folk song Bríd Óg Ní Mháille (Young Brigid O’Malley), it is the Irish language Brid (pronounced Breed). Irish also offers Bride, Brídín, Brighid, Brighidín, Brigit, Breeda, and others. With so many alternatives for a very ancient name it may be surprising that none of them rank high on the popularity charts although their accumulated usage may do so.2 With its root word being breo (which means fire), all variations of Brigid have the Irish word brígh in common. According to the Royal Irish Academy’s Dictionary of the Irish Language, brígh has multiple definitions and meanings. It primarily connotes “power, strength, force, and authority” but also translates as “vigor, virtue and fortitude.” In medicine, brígh refers to the antidote which proves to be strongly effective.3 As Brid is sometimes translated as “strong-willed” and “high born,” it becomes clear that this girl’s appellation possesses excellent qualities that, along with the beauty of its sound when spoken and its venerable ancient history,  may presume to reach into the top 100 Irish names for girls some time in the future.

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Saint Brigid of Ireland (c. 451 – 525) with St. Patrick and St. Columba is one of today’s three patron saints of Ireland. From the moment of her birth in the mid-fifth century her story is shrouded in Christian legends and tales. St. Brid is a direct descendant of the older pagan Celtic goddess of the same name. St. Brid’s fire – a flame kept constantly alight in her honor by nuns in the monastery she founded – burned for 1000 years until her monastery along with most others was closed during the Protestant Reformation in the mid-sixteenth century.

The first Irish historical figure directly associated with the name Brid or Brigid that is most relevant to the name in Ireland today is St. Brigid (c. 451 – 525). Along with Sts. Patrick (418-493) and Columba (540-615), she is one of Ireland’s three patron saints. Legends swirl around this early Christian figure from the moment of her birth, including the story of angels seen hovering over the Irish cottage where she was born near Dundalk at the foot of the Cooley Mountains. History records that her mother was a Christian slave and her father was a pagan chief. Soon after Brid’s birth, her mother was sold and had to leave her father’s house although young Brid stayed. There are many Irish fioretti relating Brid’s fantastical holy exploits during this period of her early youth. One appealing story among many tells of her disobeying her father so to journey to visit her enslaved mother. Traveling alone along Ireland’s wild pathways, Brid located her mother who was tending her owner’s cattle.  Mother and daughter worked side-by-side until their labors’ fruit proved so abundant that Brid was able to secure her mother’s freedom. How Brid later chose to consecrate her life to God as a nun which led to her founding Ireland’s first monastic community of women is also explained in legends.4

St. Brigid of Ireland’s misty past is informed by a pre-Christian Celtic goddess named Brigid whose mythology as we know it today was first recorded, ironically perhaps, by early Irish Christian monks. As in St. Brid’s story of liberating her enslaved mother, the pagan goddess Brid is closely aligned to the cow as well as the sheep, but also animals with mythological qualities of regeneration such as the rooster and snake. Surrounding this more remote Brid is a panoply of supernatural qualities and events told in legends and folklore.5 Yet this ancient pagan Celtic goddess has her older forebears in the Proto-Indo-European goddesses that are over 5,000 years old. In ancient Mesopotamia one finds a certain Brid who was deity of the hearth.6

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Brigit is a powerful religious form in Irish history, as she is one of the most complex and contradictory goddesses of the Celts. The pagan goddess is patroness to healers, poets, metal workers – all the practical and inspired civilized arts. Associated with fire and light she is also guardian of inner vital energy.

Bríd Óg Ní Mháille is an Irish folk song in a long line of Irish musical taste about forsaken love. It is performed here brilliantly in the Irish by singer Gillian Fenton who is accompanied on traditional Irish harp by Fiachra O’ Corragáin. There are many traditional and contemporary renditions, however, of this popular late nineteenth-century Irish Gaelic song. Its surge of popularity is an entirely local Irish story.  There was a certain young man in mid-20th-century County Mayo who was a Gaelic teacher. He took particular fancy to this tune about a young Irishman who lost his love – the titular Bridget O’Malley – to another suitor and was left “heartbroken…the arrows of death…piercing my heart.”7 The Gaelic teacher, armed with this air about “the beauty of Oriel without any doubt…now married to another…” took it with him back to the county just next door, his native Donegal, where its popularity first flourished.

St. Brighid of Ireland

Saint Brighid of ireland
St. Brighid of Ireland is shrouded in ancient legends and myths.

Edward_Burne-Jones_-_The_Beguiling_of_Merlin

The Beguiling of Merlin, Edward Burne-Jones, 1872–77, Oil on canvas, 186 cm × 111 cm (73 in × 44 in), Lady Lever Art Gallery, Port Sunlight, Merseyside. There is a 12th century story in which Merlin is beguiled by a female figure whose vision thereof inspires or causes History. This female form is sometimes associated with Brigantia. In some stories she is the one who nurtures development of human potential.

St. Bride by John Duncan 1913St. Bride by John Duncan, 1913. Bride is one of the many variations for the English Bridget or Irish Brighid. Others include Brid, Brídín, Brighidín, Brigit, and Breeda.

There is another Irish Gaelic song referencing the name Brid that is titled Fair Bridget (Brid Bhan) and also emanates out of Donegal. It is not as popular as Bríd Óg Ní Mháille, but speaks about a modern young Brid – similar to the mother of ancient St. Brid – who is taken out of her home to tend cattle in a far-away place not her own. It is heartbreak for this fair Brid to begin a new life where the cows graze on the “sour grass” of the mountain sides. Like St. Brid’s mother, this fair Brid, it is told, eventually returned to her native place, although the song doesn’t tell us, only local legend. The listener, however, can be assured of the veracity of these melancholy verses for in Bríd Óg Ní Mháille it says: “There is nothing more beautiful than the moon over the sea or the white blossom, and my love is like that with her golden tresses and her honey-mouth that has never deceived anybody.”

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La Ghirlandata. Dante Gabriel Rossetti (1828-1882). 1873. Oil on canvas. 124 x 85 cm. Guildhall Gallery, London. City of London Corporation.

Oh Bríd O’Malley
You have left my heart breaking 
You’ve sent the death pangs
Of sorrow to pierce my heart sore
A hundred men are craving
For your breathtaking beauty
You’re the fairest of maidens
In Oriel for sure

I’m a handsome young fellow
Who is thinking of wedlock
But my life will be shortened
If I don’t get my dear
My love and my darling
Prepare now to meet me
On next Sunday evening
On the road to Drum Slieve

‘Tis sadly and lonely
I pass the time on Sunday
My head bowed in sorrow
My sights heavy with woe
As I gaze upon the byways
That my true love walks over
Now she’s wed to another
And left me forlorn

(2.49 minutes).

Notes

  1. Topping the list of the 100 most popular girls’ names in Ireland today are Emily, Emma, Sophie, Ella, and Amelia, in that order. Mary ranks number 84 and Bridget is not even on the list. See – http://www.irish-genealogy-toolkit.com/Irish-girl-names.html
  2. In 2015, within the family of girl names directly related to Brígh, Brianna was the most widely used. Brian is the male form of the name.
  3. http://edil.qub.ac.uk/6813 retrieved March 29, 2017.
  4. See Irish Saints, Robert T. Reilly, Avenel Books, New York, 1981, pp. 16-26.
  5. Carey, John. “Tuath Dé” inThe Celts: History, Life, and Culture, edited by John T. Koch. ABC-CLIO, 2012. pp.751-753.
  6. See The Oxford Introduction to Proto-Indo-European and the Proto-Indo-European World, J.P. Mallory; D.Q. Adams, 2006, Oxford, England: Oxford University Press.
  7. Folksongs of Britain and Ireland, edited by Peter Kennedy, Schirmer Books, New York, 1975, p. 82.

dun aengusDun Aengus, Aran Islands (Inishmore), Ireland. Prehistoric fort at the edge of a 100-meter (328 foot) cliff. Constructed around 1100 BC with its triple wall added about 500 BC.

©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by an means, electronic  or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

John P. Walsh

Irish Folk Song: “Weile Weile Waila” as performed by The Dubliners.

By John P. Walsh

There are thousands of Irish folk songs, a traditional and often nationalistic musical genre that is experiencing today a renaissance and renewal as song collections are widely available that began to be compiled in the nineteenth century and continued into the twentieth century at a productive pace. These folk song collections include the Francis James Child collection of 305 Scottish and English ballads (which has ramifications for the first Irish song discussed here) from the final decades of the nineteenth century to more recent collections including Folksongs of Britain and Ireland compiled by Peter Kennedy in 1975.1 The popularization of an extensive range of Irish folk songs proliferated in the last century with the inclusion of sound recordings and broadcast programs on mass media such as radio and television. Music and words that started in local communities returned to them by way of mass media such as the popularity of “Beidh ceol, caint agus craic again” (“We’ll have music, chat and craic”) used by Seán Bán Breathnach for his Irish-language chat show SBB inaShuí, broadcast on RTÉ from 1976 to 1982. Folk songs, local songs, are experiencing a twenty-first century renaissance with a return to traditional, local cultural sources through the prism of contemporary interpretations and arrangements by established and new musical performers in Ireland and other countries around the world including the United States. These artists find commercial value in performing mainly traditional material on their own terms.3

The Dubliners, ca. 1970 (left to right. top: Ciarán Bourke, Barney Mckenna, Luke Kelly; front: John Sheahan, Ronnie Drew).

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Craicing Selfie with Seán Bán Breathnach.

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The Casey Sisters (Nollaig Casey, Mairéad Ní Chathasaigh, and Irish harper Mairé Ní Chathasaigh). With UK acoustic guitarist Chris Newman, Mairé Ní Chathasaigh has performed in over 20 countries on 5 continents.

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The Clancy Brothers and Tommy Makem with bassist Bill Lee, ca. 1964. Photo: Don Hunstein.

Weile Weile Waila is a folk song that emerged in Ireland during the hardship of the Great Hunger of the 1840s and early 1850s when by necessity hundreds of thousands unto millions of Irish emigrated to the United States and Canada and to many other parts of the world out of sheer desperation.4  Weile Weile Waila is a children’s nursery rhyme specific to Ireland first catalogued by Harvard English professor and folklorist Francis James Child (1825-1896) who discovered over a dozen variants for this song titling them “The Cruel Mother.”5 In Child’s incomplete catalogue of ballads – his project interest in the British Isles in the 1880s and 1890s was more literary than musical – its overall subject offerings range from romance and legends, the supernatural, history, morality tales, and riddles, and in no way precludes even darker subjects and themes as is found in Weile Weile Waila. This folk song could be called a “murder” ballad as well as a “family strife” ballad or “abuse of authority” ballad, all of which are considered “Child” ballads named for Francis James Child who catalogued their type. Which of the 17 versions of this song that Child collected as“The Cruel Mother” best meshes with this Irish ditty belies traits they all appear to share: a woman gives birth and using a pen-knife kills the child, often with the descriptive relish to tear “the tender heart.”6

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The English and Scottish Popular Ballads, 1882–1898 of Francis James Child.

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Undated engraving of F.J. Child, by Gustav Kruell (German, 1843-1907). Note the rose at the upper right.

The song’s title phrase Weile Weile Waila is itself murky. Likely medieval in origin, the term’s original meaning is lost to history although in Ireland in the nineteenth century it was primarily used for a popular exclamation of grief – an emotion much roused and justified on the island in that time period.7 This Irish version of Francis James Child’s “The Cruel Mother” poses its own specific plot. An “old” (no longer “cruel”) woman who “lived in the woods” stabs an infant “three months old” to death along the banks of the River Saile, a stream which may refer to one that flows today in and near Dublin.

poddle-tongue

The River Saile featured in the Irish folk song Weile Weile Waila may be a local name given to the River Poddle in the city of Dublin. The River Poddle is a tributary of the Liffey, rising in Cookstown to the north of Tallaght. From its source, it flows into Dublin City, and splits at Mount Argus at what is known as the “Tongue” or “stone boat” that is pictured above. 

In the Irish version, the old woman is probably not the mother of the baby which provides a remarkable variant to a historic song that extensively describes a cruel mother. Yet the old folk song’s dark flavor is retained for use as a nursery rhyme obviously sung by a young mother to her child perhaps with humor and loving, benign menace. The old woman uses the song’s prevalent pen-knife (here made “long and sharp”) and is quickly approached and arrested by “two policemen” and “a man” to be “sent to jail” where she is dispatched to the gallows and executed for the crime. This series of events unique to the Irish lyric (some of it updated as recently as the 1970s) is that the cruel mother’s hope for eternal mercy or fear of eternal damnation that ends the many Child Ballad versions is replaced with harsh justice for the old woman in the here and now. The death of the baby also is specifically lamented.

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Suffering associated with The Irish Famine of 1845-50 depicted in a contemporary sculpture (1997) called Famine by Rowan Gillespie in Dublin. While causes and numbers are hotly debated, approximately one million people died and at least one million more emigrated from Ireland according to David Ross in Ireland: History of a Nation (2002, Geddes & Grosset, New Lanark).

The song retains in each verse that popular Irish exclamation of grief – Weile Weile Waila –injecting into its dark proceedings, now made into a nursery ditty, a forlorn lyric that stands on the precipice to describe with open eyes shocking and oftentimes glossed-over ancillary misfortunes in Ireland during years of mass starvation and disease in the mid-nineteenth century. Its specificity of Irish suffering –  the “end” of the old woman and the baby – describes a cycle of viciousness met by harsh earthly justice that makes for a sobering two minutes of Irish folk music. The song’s material carries forward to the present a sharp slice of  Ireland’s former meaner times when members of local communities could be driven to despicable acts when necessary resources for survival are long delayed. In this short nursery rhyme with an ample and well-documented folk song history (and popularized in the 1970s by the folk band The Dubliners) Irish parents and children alike could be entertained by others’ calamities where the guilty are meted out justice and the innocent are bemoaned.

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(“There was an old woman and she lived in the woods…”) Woman begging with baby in Clonakilty (County Cork), Ireland. Portrait print of a destitute mother holding her baby in one arm and a begging bowl in the other. These miserable conditions were brought on by the Great Famine and compounded by socio-economic practices such as forced evictions of poverty-stricken peasants from their homes and farms.

The Dubliners featuring Ronnie Drew perform Weila Weila Waila in a 1988 television performance (2:19 minutes). Twenty years later, at Ronnie Drew’s funeral in 2008, the large gathering of mourners sang this song to his memory in unison clapping and stamping their feet.8

LYRICS:

And there was an old woman and she lived in the woods
A weila weila waila
There was an old woman and she lived in the woods
Down by the River Saile

She had a baby three months old
A weila weila waila
She had a baby three months old
Down by the River Saile

She had a penknife long and sharp
A weila weila waila
She had a penknife long and sharp
Down by the River Saile

She stuck the penknife in the baby’s heart
A weila weila waila
She stuck the penknife in the baby’s heart
Down by the River Saile

Three loud knocks came knocking on the door
A weila weila waila
Three loud knocks came knocking on the door
Down by the River Saile

There was two policeman and a man
A weila weila waila
There was two policeman and a man
Down by the River Saile

They took her away and they put her into jail
A weila weila waila
They took her away and they put her into jail
Down by the River Saile

They put a rope around her neck
A weila weila waila
They put a rope around her neck
Down by the River Saile

They pulled the rope she got hung
A weila weila waila
They pulled the rope she got hung
Down by the River Saile

Now that was the end of the woman in the woods
A weila weila waila
And that was the end of the baby too
Down by the River Saile

NOTES –

  1. Child collection – see http://harvardmagazine.com/2006/05/francis-james-child.html; Folksongs of Britain and Ireland, Peter Kennedy, Schirmer Books, New York, 1975.
  2. Quote Seán Bán Breathnach – Fintan Vallely, Companion to Irish Traditional Music, New York University Press, New York, 1999, p. 9.
  3. New bands recording Irish folk songs include, in Ireland, The Corrs; in Britain, The Pogues; and in the United States, Dropkick Murphys as well as Flogging Molly. There are many others.
  1. There are many sources on the subject of Irish emigration in the mid-nineteenth century. What is noteworthy is that the causes for it and numbers involved in it frequently remain intensely debated.
  2. On the subject of Child Ballads – see Mary Ellen Brown, Child’s Unfinished Masterpiece: The English and Scottish Popular Ballads, University of Illinois Press, Urbana, 2011 and E. Housman, British Popular Ballads, Ayer Publishing, 1969.
  3. Child’s 17 versions of “The Cruel Mother” – http://www.sacred-texts.com/neu/eng/child/ch020.htm.
  4. Meaning of term weila weila waila – Robert E. Lewis, Middle English Dictionary, 1999, University of Michigan Press. p. 232.
  5. Drew funeral – http://www.independent.ie/irish-news/mourners-give-ronnie-a-rare-ould-sendoff-26470805.html

©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by an means, electronic  or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

Gato Barbieri, “Last Tango in Paris” composer, was one talented “Cat.”

By John P. Walsh

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, still sporting his trademark black fedora hat, had been regularly 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. “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,” he said. “It’s a good thing. You know why? Because they say, ‘What do you play?’ I say, ‘I play my music — Gato Barbieri.’”

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).

early Gato Barbieri

Leandro “Gato” Barbieri (1932 – 2016).

Gato Barbieri.

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.

Gato Barbieri.

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.

Gato Barbieri in 1972.

Gato Barbieri.

Friends of Chile benefit concert, Madison Square 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. 

Gato Barbieri.

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.” This photo is from 2000.

Gato Barbieri.

Gato Barbieri in 1970.

Gato Barbieri.

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). This photo was taken in New York City 1974.

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.

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). “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 in a live performance in 1984

Live Performance.

gato barbieri photo
Leandro José Gato Barbieri relaxed
Gato Barbieri

SOURCES:
Barbieri’s 50th album, “Shadow of the Cat” released in September 2002 on Peak Records – http://www.allmusic.com/album/the-shadow-of-the-cat-mw0000225929

two sources for its inspiration… – http://www.allmusic.com/album/the-shadow-of-the-cat-mw0000225929

won a Grammy Award for his film score – http://www.billboard.com/articles/columns/latin/7318824/gato-barbieri-dead

five albums at A&M Records in mid-to-late-1970’s. – http://www.concordmusicgroup.com/artists/gato-barbieri/

in 2015 Latin Grammy Lifetime Achievement Award  – http://www.billboard.com/articles/columns/latin/7318824/gato-barbieri-dead

“Mystical yet fiery…” quotation – http://www.concordmusicgroup.com/artists/gato-barbieri/

First performed at Blue Note – http://www.nytimes.com/2016/04/03/arts/music/gato-barbieri-latin-jazz-trailblazer-dies-at-83.html

Perform monthly since 2013 – http://highlighthollywood.com/2016/04/latin-jazz-saxophonist-gato-barbieri-dies-at-age-83-highlight-hollywood-news/

gives his final concert – http://www.tff.gr/nea/arthro/to_teleutaio_tangko_tou_leantro_gkato_mparmpieri_vds-130329325/

“‘I play my music — Gato Barbieri’” quotation – http://www.nytimes.com/2016/04/03/arts/music/gato-barbieri-latin-jazz-trailblazer-dies-at-83.html

©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by an means, electronic  or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.