Gato Barbieri / Under Fire
Формат записи/Источник записи: [TR24][OF]
Издание: Remastered
Год издания/переиздания диска: 1971/2016
Жанр: Latin Jazz
Издатель (лейбл): Ace Records
Продолжительность: 00:35:43
Наличие сканов в содержимом раздачи: Нет
Треклист:
01 - El Paraná 09:08
02 - Yo Le Canto a La Luna 04:51
03 - Antonico 03:50
04 - Maria Domingas 09:35
05 - El Sertao 08:21
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/48
Количество каналов: 2.0
Лог проверки качества
Lossless Audio Checker 2.0.7 logfile from Wednesday 07 April 2021 05:48:04 PM
File: D:\Temp\磁力下载：(论坛代下载服务)\Gato Barbieri - Under Fire - 1971-2016 (24-48)\01. El Paraná.flac
Result: Clean
File: D:\Temp\磁力下载：(论坛代下载服务)\Gato Barbieri - Under Fire - 1971-2016 (24-48)\02. Yo Le Canto a La Luna.flac
Result: Clean
File: D:\Temp\磁力下载：(论坛代下载服务)\Gato Barbieri - Under Fire - 1971-2016 (24-48)\03. Antonico.flac
Result: Clean
File: D:\Temp\磁力下载：(论坛代下载服务)\Gato Barbieri - Under Fire - 1971-2016 (24-48)\04. Maria Domingas.flac
Result: Clean
File: D:\Temp\磁力下载：(论坛代下载服务)\Gato Barbieri - Under Fire - 1971-2016 (24-48)\05. El Sertao.flac
Result: Clean
DR
foobar2000 1.4.3 / Dynamic Range Meter 1.1.1
log date: 2021-04-07 17:48:33
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Analyzed: Gato Barbieri / Under Fire
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DR Peak RMS Duration Track
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DR11 -5.56 dB -18.69 dB 9:08 01-El Paraná
DR13 -5.86 dB -21.19 dB 4:51 02-Yo Le Canto a La Luna
DR12 -4.10 dB -18.65 dB 3:50 03-Antonico
DR12 -4.10 dB -19.45 dB 9:35 04-Maria Domingas
DR13 -4.64 dB -20.43 dB 8:21 05-El Sertao
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Number of tracks: 5
Official DR value: DR12
Samplerate: 48000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 1646 kbps
Codec: FLAC
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Скриншот спектра частот
Источник (релизер): IsraBox
Состав
Gato Barbieri - tenor saxophone, vocals
Lonnie Liston Smith - piano, electric piano
John Abercrombie - guitar, electric guitar
Stanley Clarke - bass
Roy Haynes - drums
James Mtume - congas
Airto Moreira- percussion, drums
Moulay Ali Hafid - percussion
Об альбоме (сборнике) https://en.wikipedia.org/wiki/Under_Fire_(album)
Under Fire is Gato Barbieri in his early-'70s prime, when the Argentinean tenorman's transition from the avant-garde to exploring his South American continental routes still hadn't passed beyond the pale into flaccid fusion. He's joined by a pretty stellar band: his regular pianist Lonnie Liston Smith (before he fuzaked out), Airto Moreira and James Mtume on drums and percussion, the veteran Roy Haynes guesting on "El Parana," a young John Abercrombie on guitar and Stanley Clarke in his young lion-of-acoustic-bass phase.
Barbieri floats in the background of "El Parana" before kicking into the song proper at an accelerated tempo. More than improvising per se, his trademark was the emotionally charged sonic stamp he put on the melody (check the intro to the ballad "Yo Le Canto a la Luna," where Barbieri sounds like he's aiming to blow down walls) that made clichés like "Latin passion and fire" sound like, well, the real deal. It also provides a good counterpoint to the exuberant playing of the group -- Smith's solo shows the impact of his years with Pharoah Sanders, but it's Clarke and the rhythm section that really drive the piece while Abercrombie tosses in fills here and there.
"Antonico" features double-tracked Barbieri and the strongest improvisation (so far) at the end, while Brazilian songwriter Jorge Ben's "Maria Domingas" fades in with a full head of steam thanks to Abercrombie and Clarke dueling over Moreira and Mtume. Barbieri's echoed yelps give way to a deeply lyrical sax melody -- he does a lot of similar dynamic shifts here -- before Abercrombie's guitar comps re-start the up-tempo with Clarke effortlessly loping on as the octave-leaping anchor for Barbieri's searing statement of the theme. "El Sertao" opens with Barbieri squeaks over Smith's echoed Fender Rhodes trills, a Clarke foundation riff, and Abercrombie's comps before Barbieri enters full-force. The music stays light and buoyant before another downtempo shift builds to a climatic coda with Clarke shining.
Even the longer pieces are over before you know it so, although Under Fire doesn't quite match the charged intensity of Fenix or El Pampero, it leaves you wishing for two things. First, that there were outtakes to include here because you never come close to getting tired of the music -- double the music would mean double the fun. And what a shame that Carlos Santana, who was just entering his Devadip phase, never recorded with Barbieri at this point in their careers because that combination had the potential to create some pretty incredible music.
/1 
发表于 2021-4-13 14:19:45
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