No copyright infringement intended for cover & music, strictly for promotional purposes only! All Rights Reserved To Their Respective Owners! Unfortunately, it seems this music is better appreciated when you are sad... This song was in a movie in 1979 with James Couburn and Sophia Loren. I do not remember the tittle. Sorry... Argentinian saxophonist who emerged in the mid-'60s as a major talent, incorporating various South American influences. Gato Barbieri is the second Argentine musician to make a significant impact upon modern jazz -- the first being Lalo Schifrin, in whose band Barbieri played. His story has been that of an elongated zigzag odyssey between his homeland and North America. He started out playing to traditional Latin rhythms in his early years, turning his back on his heritage to explore the jazz avant-garde in the '60s, reverting to South American influences in the early '70s, playing pop and fusion in the late '70s, only to go back and forth again in the '80s. North American audiences first heard Barbieri when he was a wild bull, sporting a coarse, wailing John Coltrane/Pharoah Sanders-influenced tone. Yet by the mid-'70s, his approach and tone began to mellow somewhat in accordance with ballads like "What a Diff'rence a Day Makes" (which he always knew as the vintage bolero "Cuando Vuelva a Tu Lado") and Carlos Santana's "Europa." Still, regardless of the idiom in which he works, the warm-blooded Barbieri has always been one of the most overtly emotional tenor sax soloists on record, occasionally driving the voltage ever higher with impulsive vocal cheer-leading. Though Barbieri's family included several musicians, he did not take up an instrument until the age of 12 when a hearing of Charlie Parker's "Now's the Time" encouraged him to study the clarinet. Upon moving to Buenos Aires in 1947, he continued private music lessons, picked up the alto sax, and by 1953 had become a prominent national musician through exposure in the Schifrin orchestra. Later in the '50s, Barbieri started leading his own groups, switching to tenor sax. After moving to Rome in 1962 with his Italian-born wife, he met Don Cherry in Paris the following year and, upon joining his group, became heavily absorbed in the jazz avant-garde. Barbieri also played with Mike Mantler's Jazz Composers' Orchestra in the late '60s; you can hear his fierce tone unleashed in the "Hotel Overture" of Carla Bley's epic work "Escalator Over the Hill." However, it was a commercial accident, his sensuous theme and score for the controversial film Last Tango in Paris in 1972, that made Barbieri an international star and a draw at festivals in Montreux, Newport, Bologna, and other locales. A contract with A&M in the U.S. led to a series of softer pop/jazz albums in the late '70s, including the brisk-selling Caliente! He returned to a more intense, rock-influenced, South American-grounded sound in 1981 with the live Gato...Para los Amigos under the aegis of producer Teo Macero, before doubling back to pop/jazz on Apasionado. Yet his profile in the U.S. was diminished later in the decade in the wake of the buttoned-down neo-bop movement.