Being completely unaware of Gato Barbieri’s work that doesn’t stink is not a problem. And really should be just about par for most folks. Even traversing boxes and boxes of dusty LPs won’t necessarily land a crate digger on anything with the saxophonist’s name on it that doesn’t look, well…horrible.

First exposed to Barbieri’s 1973 Chapter One: Latin America I was surprised to hear such music coming from a man so associated with the lesser tenets of newer jazz forms. The disc, which was the beginning of his interconnected series for Impulse!, wasn’t mind blowing, but sported at least a passing similarity to some John Coltrane and Pharaoh Sanders work from the previous decade. Of course, comparing those figures with Barbieri works only to a point. And this man’s debt to the more commercial side of things really began to immerge during this time – even given his earlier association with Don Cherry. Yeah, that’s a surprising match.

The same year Chapter One was released, Barbieri was also engaged with a live date, also recorded for the Impulse! label. Bolivia, regardless of one’s appreciation of the music sports a line up consisting of players well versed in any number of different jazz subgenres. John Abercrombie, on guitar, is most often associated with ECM and its brand of ambient jazz. On his collabo with Barbieri, there’s not much room to stretch out, but on the album’s title track listeners are gifted with a fresh approach to South American guitar styles. It’s not revolutionary, but Abercrombie’s varied stylistic influences allow him to come off as a player capable of a little bit of everything.

Another huge name, Bernard ‘Pretty’ Purdie, makes an appearance, but only on the album’s first track. And sadly, his funky playing isn’t really put on display, but it’s always promising to see the man’s name on a record.

The other huge personage included here, who also has a funky streak in him not put to use on the recording, is Lonnie Liston Smith. Mostly utilized here to add flashes of color to Barbieri’s compositions, “Ninos” allows the keyboardist and pianist the most leeway to stretch out, it’s frantic pace bolstered by Abercrombie’s guitar and Smith’s quick step comping. Unfortunately, what Barbieri’s most known for, some over indulgent soloing that sounds like it should emanate from an elevator in a dentist’s office is still the order of the day. There’re always shades of Sanders and Coltrane, but that can’t make for a healthy reason to throw Bolivia on the hi-fi.