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That tenor saxist Gato Barbieri is still releasing albums into his 70s is one of the few real marvels in modern jazz. A remarkably charismatic figure with a scarf always draped around his shoulders and floppy hat cocked to shadow his face, Barbieri was at the forefront of Latin jazz in the '50s. He forcibly broke down sonic barriers with his freeform ESP-Disk in the '60s, then set a unprecedented pace with his own searing sheets of sound that resulted in the steamy soundtrack for the shocking "Last Tango In Paris" in the '70s. 

Over time, his bold, intense blowing was considered as mildly abrasive, but forceful in its passion. It was just enough that other players picked on his volume, but sadly, not his vision. After his wife's passing in the early '90s, Barbieri lapsed into a decade-long seclusion and, sadly, took most of the creative fire with him. In respect of that, Barbieri's comeback albums have become mellower, more introspective affairs- albeit formula-driven with most of musical weight assigned to younger sidemen. At least his newest disc finds him embracing some lighter, genteel moods. Arranged by keyboardist Jason Miles (who has fashioned recent tribute albums to Weather Report and Ivan Lins), Shadow features an assortment of quasi-Cubano rhythms and soothing grooves for Barbieri to daub some humble themes and pensive solos. While the scorching intensity of the tenor's '70s work is now just a few embers, Barbieri uses an elegant, melodious tone for this album that reflects his musical sophistication. From the peppery intervals that whip through "El Chico" (his tribute to Chico O'Farrell) and the moody verses that conclude "Last Kiss" to the gliding, blissful notes that now make for "Last Tango" (a funky remake of the movie's main title theme), Barbieri has chosen a new musical path that is more heartfelt than headstrong. 

While "Shadow" bears little of Barbieri's robust intensity, it does present him with some musical dignity- that's even rarer in modern jazz.