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(JazzPlanet) Patricia Barber - Cafè Blue (Eac Flac Cue)(UF)

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Patricia Barber - Cafè Blue



http://img198.imageshack.us/img198/5390/patriciabarbercafblue20.jpg



http://img411.imageshack.us/img411/5390/patriciabarbercafblue20.jpg



http://img198.imageshack.us/img198/1508/patriciabarbercafblue20d.jpg





Title:  Cafè Blue

Artist:  Patricia Barber

Genre:  Jazz / Vocal

Audio CD (June 11, 2002) 

Original Release Date: June 28, 1994 

Number of Discs: 1 

Format: Super Audio CD 

Label: Mobile Fidelity Koch 

Extractor: EAC 0.99 prebeta 3

Read Mode: Secure with NO C2, accurate stream, disable cache.

Codec: Flac 1.2.1;  Level 6

Files: Flac image track, file.Cue, Eac.log

Size Torrent: 308 Mb

Cover Incluse





 

Track List



-What A Shame

-Mourning Grace

-The Thrill Is Gone

-Romanesque

-Yellow Car III

-Wood Is A Pleasant Thing To Think About

-Inch Worm

-Ode To Billy Joe

-Too Rich For My Blood

-A Taste Of Honey

-Nardis

-Manha De Carnaval





Personnel



Patricia Barber - vocals, piano

Michael Arnopol - bass

John McLean - guitars

Mark Walker - drums, percussion, body parts



Listen to sample



http://www.amazon.com/gp/recsradio/radio/B0000634I2/ref=pd_krex_dp_a#



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



My first experience with Patricia Barber's music was the critically acclaimed "Modern Cool", a disk lauded by
music editors as "breakthrough" and "the best Patricia Barber albumn ever". I played it twice and
put it away. Perhaps I'm too much of a traditionalist, but I considered it more crossover than "breakthrough".


I had all but given up on Patricia Barber's music until I took a chance and bought her newest disk
"Companion". What a wonderful live recording! Patricia captured at her best. I was hooked and could hardly get
to amazon.com fast enough to buy "Cafe Blue"! The Patricia Barber experience just keeps getting better! This
production is very polished, in stark contrast to the club grittiness of "Companion". Patricia's voice is at
once refined, supple, seductive and pouty, garnished by her richly textured compositions brilliantly executed by her
three piece band. Patricia has artfully woven an ecclectic mix of compositions into a recording that plays with your
emotions, then leaves you shaking your head in wonderment at disk end. The soulful opening track "What A
Shame" will have you lamenting a love lost before you know it. But Patricia doesn't let you languish long as she
moves you quickly into the freneticly paced "Mourning Grace", a piece with lyrics penned by Maya Angelou and
featuring Brazillian influenced music from Patricia. This lady is full of surprises, and so is this disc (did I mention
the angelic "Romanesque"?). "Cafe Blue" has earned a permanent position in my CD changer, and
Patricia a place in my heart. 



__________________________________________________________________



Patricia Barber, who is both a fine keyboardist and an atmospheric singer, contributes roughly half of the material to
her Premonition debut. Her dark voice and the generally esoteric program takes awhile to get used to (listeners will
have to be patient), but after two or three listens, this thought-provoking and rather moody set becomes more
accessible. The music ranges stylewise from sophisticated pop sensitivities to the avant-garde and even touches of
minimalism, while not fitting securely into any category. Barber gives a new slant to "The Thrill Is Gone,"
"Ode to Billy Joe," and even "A Taste of Honey," and her vocals are all quite haunting and
contemporary. An added plus to this unusual music is adventurous guitarist John McLean. ~ 

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