(JazzPlanet) Patricia Barber - Nightclub (Eac S-Flac Cue) (UF)

Patricia Barber - Nightclub



















Artist: Patricia Barber

Title: Nightclub

Release Date Sep 26, 2000

Recording Date May 15, 2000-May 19, 2000

Label Blue Note

Genre Jazz

Styles Contemporary Jazz, Vocal Jazz. Post-Bop

Source: Original CD





Extractor: EAC 0.99 prebeta 4

Used drive : HL-DT-STDVDRAM GSA-E10L

Read mode : Secure

Utilize accurate stream : Yes

Defeat audio cache : Yes

Make use of C2 pointers : No

Codec: Flac 1.2.1; Level 8

Single File.flac, Eac.log,

File.cue Multiple wav file with Gaps (Noncompliant)

No tracks could be verified as accurate

You may have a different pressing from the one(s) in the database

Size Torrent: 294 Mb

Cover Included





Personnel



Patricia Barber vocals, piano

Adam Cruz bass

Michael Arnopol bass

Charlie Hunter 8 string guitar

Marc Johnson bass

Adam Nussbaum drums



Tracks:



1. Bye Bye Blackbird

2. Invitation

3. Yesterdays

4. Just For A Thrill

5. You Don't Know Me

6. Alfie

7. Autumn Leaves

8. Summer Samba

9. All Or Nothing At All

10. So In Love

11. A Man & A Woman

12. I Fall In Love Too Easily



Listen to sample



http://www.amazon.com/gp/recsradio/radio/B00004YL5G/ref=pd_krex_listen_dp_img?ie=UTF8&refTagSuffix=dp_img
/>


Bio



Patricia Barber's unique style and unusual voice made her an easy target for critics in the early days of her career. Her piano playing and singing, while inventive, never ventured close enough to the avant-garde to earn her artistic license, and her insistence on writing her own material and adapting songs from the pop world made her difficult to categorize. A tireless performer who refused to conform to more conventional vocal jazz idioms, she worked her way up through the Chicago jazz scene slowly, almost reluctantly, after having spent several years in Iowa attending college and performing with local groups.



The daughter of Floyd "Shim" Barber and a blues vocalist, she had all but rejected the idea of becoming a jazz musician, but found herself drawn to the performing world after college. When she returned to Chicago, she was trashed by the local critics, and only after winning a five-day-a-week gig at the intimate Gold Star Sardine Bar and releasing her first album on her own Floyd label (1989's Split) did the tide begin to turn for her. She signed a contract with Verve and released A Distortion of Love in 1992, which brought her some positive critical attention and earned her a more national audience, but the big-label experience was trying for Barber and she sought a place where she could have more creative control. Her next two albums were issued by the tiny local label Premonition (1994's Café Blue and 1998's Modern Cool).



Premonition was purchased by Blue Note in 1998, and the label put some marketing muscle behind Barber, helping to bolster the international reputation she had already begun to earn. Blue Note released Companion in 1999 -- intended to act as her introduction to a wider audience, the album reprised much of her popular material and was recorded live at Chicago's Green Mill, a historic jazz club where Barber had been performing weekly for several years. 2000's Night Club took her back into a studio setting, but still featured many of the inventive interpretations that had distinguished her work in the past. Barber issued her edgy, critically acclaimed Verse on the Blue Note label in 2002. She won a Guggenheim in March of 2003 to create a song cycle based on Ovid's Metamorphses. Her concert set Live: A Fortnight in Paris was issued on the label in 2004, consisting of five originals, five covers, and two brand new songs. Mythologies followed in 2006. A year later, the anthology The Premonition Years: 1992-2002 appeared detailing most of Barber's early releases. In 2008, Barber took a break from her original material and delivered the jazz standards studio album The Cole Porter Mix





review



The piano-playing singer Patricia Barber has quite a pearl of 12 standards on Nightclub with three stellar trios, including three tracks with Charlie Hunter's eight-string guitar. The incomparable bassist Marc Johnson also adds supple support on a few tunes and has a very tasty solo on "Yesterdays". And speaking of soloing, because Barber's vocal phrasing, rhythm, and timbre are so unique, it's easy to overlook her brilliant improvisations on piano. Despite their surface similarities, Barber seems worlds apart from Diana Krall in her presentation. Putting out an album of standards after the ultrahip Modern Cool challenges Barber with a different concept, rather than an attempt to capitalize on the tremendous success of other mainstream jazz vocalists (Krall included). In fact, if there's a problem here, it's that the sardonic wit displayed on Barber's previous releases is missing. On the other hand, it's mightily refreshing to report that a great American jazz singer who established herself on her own material has succeeded at an album of standard tunes. It's a chain of events that most vocalists can't claim. On Nightclub, Barber creates a dark, smoky atmosphere where, like any good impressionistic artist, she brings listeners into her world and lets them enjoy art from her side of the creative pane. Quite an accomplishment.



__________________________________________________________________







For a cult singer with a growing audience, an album of standards seems a good way to attract even more listeners. Nightclub, which despite its title is a studio recording, may do that for Patricia Barber. A keen sense of drama supports her interpretation of lyrics. She has a pleasantly round contralto, accompanies herself with skill at the piano and improvises competently. Her selection of songs and sidemen reflects taste and a penchant for the unusual or forgotten.



Eight-string guitarist Charlie Hunter comes in from the edges of experimental jazz to back her on three pieces. On one of the CD's most satisfying tracks, Hunter's fills behind Barber on Lil Hardin Armstrong's "Just for a Thrill" hang in perfect rhythmic balance with the vocal. Hunter also comps and solos to great effect on another unexpected entry, the 1966 pop hit "A Man and a Woman." Marc Johnson and Adam Nussbaum on some tracks, Michael Arnopol and Adam Cruz on others, provide sensitive and appropriate accompaniment on bass and drums. Johnson's basslines on "Autumn Leaves" and "Yesterdays" stimulate Barber's most interesting piano work on Nightclub. The collection creates a sultry late-night atmosphere.



Now for the bad news: Barber's wandering intonation takes the edge off both of those performances and several others. With the slight cover of duo or trio accompaniment and intimate recording technique, sharp notes ("Yesterdays") or flat notes ("Autumn Leaves," "All or Nothing at All") leap out at the listener. I concede the possibility that she may choose to go out of tune for effect. Still, out of tune is out of tune. When an artist is her own producer, a danger is the likelihood that no one will point out such matters and call for a retake.