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| ARTIST: | Patricia Barber |
| CATEGORY: | Music |
| MANUFACTURER: | Blue Note Records |
| TYPE: | Jazz, Pop |
| MEDIA: | Audio CD |
| TRACKS: | Bye Bye Blackbird, Invitation, Yesterdays, Just for a Thrill, You Don't Know Me - Michael Arnopol, Alfie, Autumn Leaves, Summer Samba (Samba de Verão), All or Nothing at All - Michael Arnopol, So in Love - Michael Arnopol, Man & A Woman, I Fall in Love Too Easily |
| UPC: | 724352729029 |
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Customer Reviews of Night Club
6 stars! Magnetic, Riveting, Absorbing, Compelling This is an extraordinary recording. It is one of those all too rare occurrences where the height of recording art serves the height of musical art. Patricia Barber just keeps getting better and better. While her notoriety and popularity may be relatively recent, one can tell that she has spent many years pouring her heart and soul into refining her art. Patricia is truly a master of her craft, but that does not go far enough. She is in that elite group of jazz originals who add dimensions to songs that one never suspected, who have their own unique signature. Whether Patricia is singing, or playing the piano, or choosing her band, or selecting her recording engineer, or crafting the sound, there is simply the quality of genius. Part of this genius is her paradoxical style. By being "cool" rather than aggressive, she disarms you, relaxes you, and opens you up. The next thing you know you have walked into her world. Or has she reached into your heart?
The recording itself deserves special attention. Jim Anderson did the engineering on this CD as he has on Patricia's most recent efforts. Just like the music itself, his contribution is integral. On a car stereo this CD sounds like nothing really special. But put it on a fine audio system and a depth of intimacy is revealed that is astounding. One is brought face to face with the music, with the soul propelling the music. It is magnetic. The sound doesn't bowl you over with being spectacular, it gracefully draws you in like a magnet. And the further one goes in, the more subtlety there is to hear. I find myself riveted by each new song, becoming completely absorbed in the spell that is woven, compelled to give it my full attention.
I have had the privilege of listening to Patricia work her magic at the Green Mill Lounge in Chicago. On one occasion I leaned over to my friend and said, "Patricia doesn't just play music, she IS music."
Score it a wild pitch
This CD was my first chance to hear Patricia Barber, and I have to say that I came away disappointed. The CD certainly has many virtues. Barber achieves precisely the "late night" atmosphere she sought, with dark, smoky arrangements of the tunes (even, improbably, "Summer Samba"). The musicianship is impeccable, with great playing from Barber and her band, especially drummers Cruz and Nussbaum who play with exemplary sensitivity. And the CD is beautifully produced. The sound is natural, and the soundstage is immense.
The problem, incredibly enough, is Barber's singing. Most of the time, she simply doesn't seem to be able to sing in tune. "Invitation," admittedly, a tough one, is a perfect example, one where Barber aims for but all too often misses notes. The misses may only be by a fraction, but that is enough to make her singing seem amateurish, and it renders the CD, beautiful production or not, disconcerting and even unpleasant to listen to.
There is nothing particularly "gritty" or "authentic" about tuneless jazz singing. Ella Fitzgerald sang in tune. So did Sarah Vaughn and Helen Humes. Dee Dee Bridgewater sings in tune. Even Diana Krall, for all her affectations, sings in tune. If "Nightclub" does not represent Barber's singing, all the better. But based on this recording, she should stick to the piano.
A Different Nod to the Mainstream
Patricia Barber is a wonderful artist, one who uses a rather limited, smoky contralto to its maximum effect in a highly creative way. Like her singing, her piano is spare, yet never wastes a note. This album is her nod to the Mainstream, and as such, it's worth a listen. The highlight is the first cut, or a very creative cover of "Bye Bye Blackbird." I appreciate anyone who covers the theme song from "A Man and a Woman" because it's actually a very nice tune and done so seldomly. If you like this, it's a good intro to Ms. Barber's more advenurous and ultimately more satisfying efforts.