Gato Barbieri
The Third World

It begins with "Cancion del Llamero": a simple, popular melody, yet so moving and evocative, that immediately you understand the intention of our artist: an album that utilizes jazz's expressive means to achieve a purpose that transcends the language used, a kind of universal third-world manifesto. It is no coincidence that the chosen tracks are part of Brazilian music repertoire (Zelao, Bachianas Brasileiras), but also South African repertoire (Haleo And The Wild Roses). However, it is in Astor Piazzolla's Tango that one understands the mood that pervades the entire album and the way Barbieri will inevitably transform the themes. While the double bass pulses with precision and the piano draws crystalline arpeggios, the theme is presented with passion, in a dense and suffered emotional crescendo. Gato's sax roars and writhes, no longer following chords or scales: it travels precariously on the thin line that divides the avant-garde experiences of free jazz with the Coltranesque influence of albums like "A Love Supreme" or "Ascension".
The sound becomes pure pathos, excessive, almost unbearable. Transfigured, violated to narrate the violences of a people, ideally charged with the scream of billions of exploited people worldwide. This is a record that makes no concessions, a difficult album, but incredibly intense.

Do not underestimate the contribution of the musicians accompanying Barbieri in this project: the bass of Charlie Haden, the piano of Lonnie Smith Jr., as well as the percussion and trombone interventions create a perfect rhythmic and melodic tapestry, contributing decisively to achieving the paroxysmal tension that explodes from the leader's notes.