The Third World
01. Introduction-Cancion Del Llamero And Tango 11:04
02. Zelao 8:02
03. Antonios Das Mortes 9:25
04. Bachanianas Brasileiras 11:02
Bass – Charlie Haden
Design – Robert Flynn
Drums – Beaver Harris
Percussion – Richard Landrum
Piano – Lonnie L. Smith, Jr.
Tenor Saxophone, Flute, Vocals – Gato Barbieri
Trombone – Roswell Rudd
Recorded November 24th and 25th, 1969
Born to a family of musicians, Barbieri began playing music after hearing Charlie Parker's "Now's the Time". He played the clarinet and later the alto saxophone while performing with the Argentinean pianist Lalo Schifrin in the late 1950s. By the early 1960s, while playing in Rome, he also worked with the trumpeter Don Cherry. By now influenced by John Coltrane's late recordings, as well as those from other free jazz saxophonists such as Albert Ayler and Pharoah Sanders, he began to develop the warm and gritty tone with which he is associated. In the late 1960s, he was fusing music from South America into his playing and contributed to multi-artist projects like Charlie Haden's Liberation Music Orchestra and Carla Bley's Escalator Over The Hill. His score for Bernardo Bertolucci's film Last Tango in Paris earned him a Grammy Award and led to a record deal with Impulse! Records.
By the mid-70s, he was recording for A&M Records and moved his music towards soul-jazz and jazz-pop with albums like Caliente! in 1976 (including his best known song, Carlos Santana's Europa) and the 1977 follow-up, Ruby Ruby, both produced by fellow musician and label co-founder, Herb Alpert.
Although he continued to record and perform well into the 1980s, the death of his wife Michelle led him to withdraw from the public arena. He returned to recording and performing in the late 1990s with the soundtrack for the film Seven Servants by Daryush Shokof (1996) and the album Qué Pasa (1997), playing music that would fall more into the arena of smooth jazz.
The Third World is the initial session that mixed Gato Barbieri's free jazz tenor playing with Latin and Brazilian influences. It's also the album that brought Barbieri positive attention from the college crowds of the late '60s. He would expand on this musical combination with his next few Flying Dutchman releases as well as his first recordings for the Impulse! label. The records made between 1969 through 1974 find Barbieri creating a danceable yet fiery combination of South American rhythms and free jazz forcefulness. Strangely, once Barbieri signed with A&M, he began making commercial records geared to fans of Herb Alpert, sounding nothing like his earlier albums.