Personnel: Gato Barbieri (tenor saxophone), Victor Paz, Bob McCoy, Randy Brecker, Alan Rubin (trumpets, flugelhorns), Ray Alonge, Jimmy Buffington (French horns), Buddy Morrow (trombone), Alan Raph (bass trombone), Howard Johnson (tuba, flugelhorn, bass clarinet), Seldon Powell (piccolo, flute, alto flute, alto & baritone saxophones), Eddie Martinez (piano, Fender Rhodes), George Davis (electric & acoustic guitars), Paul Metzke (electric guitar), Ron Carter (acoustic & electric bass), Grady Tate (drums), Ray Armando, Luis Mangual, Ray Mantilla, Portinho (percussion).
Recorded at Generation Sound Studios, New York on June 25-26, 1974.
Personnel: Gato Barbieri (tenor saxophone); George Davis (acoustic guitar, electric guitar); Paul Metzke (electric guitar); Seldon Powell (flute, alto flute, piccolo, alto saxophone, baritone saxophone); Howard Johnson (bass clarinet, baritone saxophone, flugelhorn, tuba); Bob McCoy, Alan Rubin, Randy Brecker, Victor Paz (trumpet, flugelhorn); Jim Buffington, Ray Alonge (French horn); Buddy Morrow (trombone); Alan Raph (bass trombone); Eddie Martinez (piano, Fender Rhodes piano); Ron Carter (bass instrument); Grady Tate (drums); Luis Mangual, Portinho, Ray Armando, Ray Mantilla (percussion).
Arranger: Chico O'Farrill.
CHAPTER THREE: VIVA EMILANO ZAPATA is the third of the four excellent "chapters" in saxophonist and composer Gato Barbieri's four-part "Latin America" series for Impulse, and released in 1974 with the core of a band he would use for his live outing on CHAPTER FOUR: LIVE IN NEW YORK. Produced by Ed Michel, this is a large group that included bassist Ron Carter, drummer Grady Tate, percussionists Ray Mantilla, the ubiquitous--and brilliant--Portinho, Ray Armando, and Luis Mangual, guitarists George Davis and Paul Metzke, and a large horn section. The session was arranged and conducted by the legendary Chico O'Farrill. There are six tunes on the set, divided between four Barbieri originals, and two covers including the legendary "Milonga Triste," and "What a Difference a Day Makes." While the former became a staple of Barbieri's live sets, it's his own compositions that are of most interest here, such as the complex horn charts in "El Sublime," with its funky Latin backbeat and his gorgeous, impassioned, hard-edged blowing over the top.