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This song has such a weird vibe, but you can't support but to like it. I don't know if it's just me, but it makes you feel like you're in the 50's for some reason. It may be just me. I tend to veer off into wonderland when I listen to funky music. But I digress. Listen to it. You won't regret it.
Better than I expected to be, when I purchased it they were being sold at 25 cents. But even at the current prices, it is still a worthwhile addition. Related in tone/style/production to his A&M albums, this is a much better album than some of his latest A&M releases. Certainly not as impressive as the Impulse! or FlyingDutchman albums, but still it is Gato.
You don't have to ask what's event on Gato Barbieri's "Que'Pasa" cd.....Love and Passion. This is one of the iest cd's I've heard since Marion Meadows' "Next to You" and John Klemmer's "Touch." I can't lie....I'd never heard of this man until one day I heard the local college jazz station play "Straight Into the Sunrise" and I said to myself, who is playing that raspy, y saxaphone? I popped my pin off my chest, found some scratch paper and wrote the name and title track down while I was driving, and ordered it the same day. The melody is absolutely beautiful. Melody should be able to take you somewhere else, and Que' Pasa does just that. It is a "must get" cd. I can't wait to play it for when "the love of my life" comes by...he's gonna love it too! And you know what we'll be doing while it's playing!![.]
I have been a longtime fan of Leandro "Gato" Barbieri been listening to him since Caliente came out,there have however been certain albums by him that i have in all honesty not cared for,however this album is great,in listening to this i fell that Gato place his passion into the music,there are songs on this album that are very sensual Mystica being one of my favorites and there are also other songs that are more upbeat such as Granada & Indonesia...If you are a fan of this genre of melody i highly recommend this album.
I unjustly overlooked this release when it came out on the market, already eight years ago. The truth is that the title sounds a bit silly to us in Spain. But now that I just got this cd, I am glad I have it and kick myself for letting it slip out of my radar screen so sically, all that the other reviewers said is true, so I won't begin paraphrasing them. However, I would like to point out the quality of sound and production of "que pasa ?". I search it is an extremely well crafted album, with rhythm, warmth (typical from Gato's sax), and that edge that takes it beyond the typical lift-crocodile-supermarket music. This is probably another reason why this did not obtain the maximum airplay it deserved on F.M. stations. It doesn't fit the light mayonnaise taste of today's smooth jazz...With such a cd, it is hard to say there is a better track. They are all great, and yet different. Even the cover ver of Stevie's song is marvelous (note that Gato had already performed a sublime cover of Marvin e's "I wish you" in the "Caliente" cd). Curiously, and there I do dissent with other reveiwers, the weakest track is probably the opener, though still a amazing cut. And Circulos" is the peak monent of the album for me. It goes soooooo high betweeen mins 2 and 4....This can also probably considered a "global" album because of references to various locations and cultures (Guadeloupe, Granada, Indonesia), all that with Gato's distinctive touch. You see, Gato has that unique sound, just like Santana, who also has gone "global" (though in another way) on his latest ly, this album is the fruit of an association. Philippe Saisse + Gato Barbieri, or vice versa. It is a very balanced album in that sense because they have equal intervention, Gato is just more known than Philippe (more a studio musician who also has intensely collaborated with Jarreau). Check out Says' skills and punch on track 2 for instance...Bottom line, skip Richard Elliott, Everett Harp, Kenny (beurk) Gorelic, or Boney James. They opted for "smooth jazz" which, on the long run has been a disaster because it has become a dull-decaffeinated genre, much to my despair. You won't obtain an adulterated product here. Obtain it without doubt !P. S. I just hope I have the same level of energy as he does when I'm an abuelo, although he looked completely over the edge in his weird explanations in the "Calle 54" DVD, another must have, by the way!!!
Til now my defining Gato recording has been "Bolivia Under Fire" (which originally was 2 distinct LP's of which "Bolivia" was my favorite... it is pure, raw, visceral and truly Latin plus includes amazing work by Lonnie Liston Smith). Already after a few listens to "Que Pasa", I must place it right alongside "Bolivia" even though they are very various -- this one a beautifully crafted studio canvas of mostly sultry ballads and vamps, whereas Bolivia is much more raw and wide open. Although there are weak tracks on Que Pasa, the remainder range from amazing to indispensable within the Gato library. "Mystica" and "Dancing with Dolphins" are essential.A listener unfamiliar w/ Gato must be aware that he stands for sheer sound, emotion, force and beauty of phrasing... NOT money cow smooth jazz licks, fancy bebop riffs, or just showing off in general. He is a visceral player who expresses emotion through sound. If you prefer fancy notes and clever improvisation, this is not your man. In terms of pure force and beauty of sound, Gato Barbieri may have no peer on the tenor saxophone -- even among the greats -- with the possible exception of Dexter Gordon. But it is also real that Gato lacks the facility and melodic virtuosity of Dexter and tons of other greats. In closing, indispensable tracks here are Mystica ; Dancing with Dolphins ; Circulos ; The Woman I Remember ... in about that order. A lot of will see "Straight Into the Sunrise" as vital and "Adentros" is a quality uptempo number. Enjoy...
This is my favorite CD from the legend himself, Vicente Fernandez. Every song on this recording is wonderful, such as the romantic "Ni Con La Vida Te Pago", the attractive huapango "Mis Manos" and a rendition of the familiar "Caminemos" that's terrific, but what makes this CD a must to have is the duet with his son, the magnificent Alejandro, in "Perdon". This is so moving that I can't hear it without getting goosebumps and my eyes filling with tears. Not only are these awesome voices a excellent blend (Alejandro has the deeper, velvety voice) but one can feel the profound love between this father and son as they sing this exquisite song. Don't miss the experience of hearing this !
Like the music. However recently heard some songs from calle 13 from Feb 27 in NPR method better than these one; with intelligent yet poignat political undertones and amazing lyrics does anyone knows if there is a CD of the viral tunes? I like calle 13...they got guts!!!.
If there is another famous melody artist anywhere in the globe who has had a run like Calle 13's in the past 5 years, I would love to hear about them. Calle 13's first album was sensational, and each of the next three has shown growth, exploration, and self-assurance. While record #2, Residente o Visitante, remains my favorite (for the moment, at least), this recent offering makes an awfully powerful case for itself. There isn't a poor track on it, or even a mediocre one. Eduardo (Visitante) Cabra has gone from being a DJ playing with a Casio to a full-fledged songwriter and melody director, with command over a wide dozens of melody and a supertight band of live players. Rene Perez remains as skilled a wordsmith as ever, and has even tamed some of his Tourette's -- this record is notable for being amazing without being offensive, or at least hardly ever. His flow is superb. Even small sister Ileana Cabra sounds amazing (and is featured on almost every song). Standout tracks for me are . . . all of them! Even the hilarious intro -- if you are downloading, that's worth the $.99. Calma Pueblo features scorching rock (as do a few other tracks), but Calle 13's exploration of other Latin melody forms continues throughout the record, and Muerte en Hawaii even features a ukulele and a Jack-Johnson-y sweet folk-rap. My only little sense of disappointment comes from the fact that it's not as funny, as y, or as food-obsessed as previous Calle 13 records. (There's still some humor and some , but hardly any food, even in closer "Preparame la cena".)