PATRICIA BARBER NIGHTCLUB MFSL LTD 180gm 45RPM 2 LP VINYL BOX #'d RARE Sealed

$

200

PATRICIA BARBER nightclub GAIN 2™ Ultra Analog 180gm 45RPM 2LP VINYL BOXSET IN STOCK NOW FOR IMMEDIATE POSTING

Brand new factory sealed Ultra Rare MoFi limited edition, numbered 2LP 45 RPM boxset. You won't find a price this low anywhere else. I only have a very limited amount of this title available.

Track listing

Nightclub (MFSL) (2000)

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

13. Santa Claus Is Coming To Town

There’s the charge that she’s “not jazz.” In fact, an early New York Times review had her listed as “pop” (and Barber answered that with a wry song called “If This Isn’t Jazz” (found on her Companion album. I find the “not jazz” charge ludicrous. Is she not a jazz musician because she’s popular and her records sell reasonably well? Does being popular make you “pop?” The same “purists” who whine about jazz not being appreciated and who complain that these great artists don’t get the acclaim they deserve, are the first ones to turn on the ones who manage a modicum of success. I don’t get it.

That said, Barber’s music is not for everyone and no, she’s not in the same league as the late Shirley Horn, but then few contemporary female jazz vocalists are, and what does that have to do with appreciating Barber? Nothing. Yet I have heard a few folks whine about the Barber-fetish among audiophiles, while Horn remains below the musical horizon. Again, that’s too bad and not fair to either of these great ladies. End of rant.

Though this album is called Nightclub it is not recorded in one. Rather it is a carefully conceived studio album that attempts to create the feel of a nightclub after hours: intimate, one-on-one and very personal. So mostly this is a trio album, with Barber on piano backed by bassists Michael Arnopol or Marc Johnson, and drummers Adam Nussbaum or Adam Cruz. On three tracks Charlie Hunter adds 8-stringed guitar.

An album of standards—shopworn tunes that have all been covered through the years by others with longer and more glowing resumes—was clearly a risky proposition inviting comparison. Yet Barber inhabits the tunes, lives in them and discovers ways to freshly deliver them. That’s what an original stylist can do, and Barber is clearly one of those. She does it without frills or affectations. Instead, she holds back and ends up expressing more by doing less. That takes an inner strength coupled with vulnerability that Barber exudes—especially if you do get to see her live.

Anyone who can bring something new to “Bye Bye Blackbird,” “Autumn Leaves,” and even “(What’s It All About) Alfie” gets a tip of the stylus from me.

Other tunes include Eddy Arnold’s “You Don’t Know Me,” famously covered by Ray Charles, “Summer Samba,” which you know even if you don’t think you do, and “A Man & A Woman.” Even Barber’s sambas and bossa novas have a deliberate pacing and a weighty mysterious air, with little of the expected sunny lilt, yet they don’t fall down.

This is a performance from all that draws you in, rather than pushing you back in your listening chair. All of the performances are of a singular, sultry mood that is both Barber’s biggest draw and her biggest weakness, as she doesn’t seem capable of breaking free of it to express some other range of colors. But that’s an issue for another day or for another record because this one sets a mood that’s deep and warm, like a comfortable chair you’re in no hurry to exit. The spaces between the notes are as nourishing and palpable as what she chooses to express physically.

The warm, inviting recording gives the illusion of being simplicity itself, with Barber, piano and bass center stage and the drum kit spread subtly across it. Even Barber’s keyboard extends outward from the center as she plays. The images are larger than life and vibrant. The glue that holds the picture together and gives the images body and dimensionality is the rich, natural ambience Anderson skilly adds to these live performances (only one featured a backing track over which Barber later added vocals) thanks to a live chamber set up in a hallway and adjacent landing, using speakers and microphones.

24 channels (give or take a few) of digitally recorded sound (a Sony 3348 48 channel machine) mixed to 2 track ½” Dolby SR encoded analog tape produced the rich, inviting sound you’ll hear on this double LP 45rpm set

We pack all LP's to insure that they do not arrive with any seam splits however we cannot guarantee mishandling by the postal service. If you want to be sure this does not happen please let us know and we will remove the LP from the cover prior to posting. We, unfortunatley, cannot accept any returns on "opened" vinyl.

As usual we have obtained a super deal on this collectable. Please hurry though quantities are limited! This item is brand new and factory sealed.