Customer Reviews

The Cole Porter Mix

5 star:		(9)
4 star:		(0)
3 star:		(0)
2 star:		(1)
1 star:		(1)

 

 

I thought 2006's "Mythologies" was one of the most creative "jazz" recordings ever, and one of the best c.d.'s of that year. When I heard that Ms. Barber was going from that Guggenheim-funded project to a c.d. of Cole Porter covers, I thought, "Huh?"

But in a weird sort of way, it makes sense. Say what you will about Patricia Barber: this is an artist who pushes the envelope. And discovering how to make new and fresh an idea that has been done a thousand times before is, in its own way, a creative challenge.

And Patricia Barber succeeds. Here's why:

In previous recordings, I've noted that Patricia Barber is like a singing Mrs. Robinson - one who sings with a detached cool that masks a profound amount of emotion. Here, she lets the emotion out.

Check out the broad romance of "Late Afternoon and You." Consider the breathless wonder of "C'est Magnifique." Or listen to the intense forboding of "Get Out of Town." Or the bitter, clenched-teeth delivery of "Miss Otis Regrets." Throughout, Ms. Barber consistently finds the right tone for each of these songs, and performs them artistically.

An admiring word, as well, regarding her main and long-time instrumentalist, guitarist Michael Arnopol. As he demonstrated on "White World" on both the "Mythologies" and the "Fortnight in France" recordings, this man can be the fastest guitarist since John McLaughlin. But here, throughout he sublimates the ego and plays to the musical settings which Ms. Barber has created. It's not that he can't play dazzlingly: check out what he does on "What Is This Thing Called Love?" It's that first and foremost, he plays musically.

Is Patricia Barber one of the finest singers around? I have others I prefer. Is she one of the finest pianists around? I have others I prefer (though she does some of her best work ever on "In the Still of the Night").

But is she one of the finest artists around? Indubitably, and that's what it's all about. "Mythologies" was one of my favorite recordings of 2006; and likewise, this one for 2008. RC

(p.s. - my bad. The wonderful guitarist here and in the other recordings is actually Neal Alger. Michael Arnopol is Ms. Barber's wonderful and long-time bassist. RC)

Patricia Barber's recordings are of such superb quality that one doesn't expect her to get better, yet she does. A songwriter of the highest caliber, superb pianist and amazing singer who is just scary, genius-level smart.

Many delights here: great versions of Cole Porter, of course. Originals that more than hold their own (the gorgeous eroticism of "Snow" is itself worth the cost of the CD). Chris Potter's unbelievable solos. Perhaps most inspiring, her wonderful band that has been with her for years keeps getting better; guitarist Neal Alger in particular seems to have taken a giant leap forward from his already very high level of play.

Great stuff!

Patricia Barber's boxing matching match with sentimentality continues
in this nearly perfect interpretation of Cole Porter classics. She counter-
punches his exuberance with dry wit and brings fun to his cycnicism.
Never has "You're the Top" been so carefree. "Get Outta Town" echoes
Barber's own "Ya Gotta Go Home", the piano mocking the lyrics and the
subject as well.
No one else seems capable of this kind of intelligent, funny, honest
work. Surely no one does it better.

Prior to this CD, "Cole Porter Mix," I did not own any of Patricia Barber's recordings. So when a friend of mine whose recommendations I trust, suggested that I buy it and listen to it, I did not hesitate and purchased the CD early this year.

Patricia Barber's voice has the same quality that I look for in a jazz singer and that is why I enjoy listening to her interpretations of some of Cole Porter's classics. On all tracks, she does not only sing but plays the piano as well. Her team of support musicians did a great job in their respective instruments: Chris Potter on tenor sax (tracks 3, 5, 7, 10, 13), Neal Alger on acoustic/electric guitar (all tracks), Michael Arnopol on bass (tracks 1-11, 13), Eric Montzka on drums/percussion (tracks 2-10, 13) and Nate Smith on drums/percussion (tracks 1, 11, 12).

It is nice to know that Patricia Barber is not only a singer/musician, she is also a songwriter. She wrote the words and composed the music of three of the tracks here: "I Wait For Late Afternoon and You," "Snow" and "The New Year's Eve Song."

Some of the beautiful highlights of the album include smooth-flowing, pretty cool deliveries of "Easy To Love," "I Concentrate On You" and "C'est Magnifique," the particular track that evokes the romantic sound and spirit of Paris. It also showcases Ms. Barber's ability to play a unique musical instrument called melodica, and Neal Alger's enthralling guitar work. "In The Still of The Night" is another favorite where Ms. Barber's voice is more pronounced, and her pianistic flair is more arresting. It has excellent instrumentation and her delivery is engagingly effervescent ending with Chris Potter's wailing saxophone. He sounded like an alumni from "Charlie Parker School of Music." "I Get A Kick Out of You" is given a dramatic reading but it is Chris Potter's outstanding tenor sax solo that steals the limelight. "Just One of Those Things" is the jazziest track while "Get Out of Town" shows off the versatile singer in her most commanding form.

I suggest that you listen to this recording with your undivided attention using your headphones to completely appreciate Ms. Barber's splendid vocal artistry and the excellent interplay among the musicians. It is also one of the most wonderful tributes to the timeless music of Cole Porter.

To my friend...thank you muchly for a great recommendation. It's a keeper! Now it's my turn to highly recommend it to the world.

I bought this cd for my husband for Christmas. It's great wrapping a gift that you just know is going to be what they want! We've seen her in concert, so no, this isn't as good as that, but Patricia Barber is just one of the most sublime muscians out there. Even my 3-year old loves the CD. We had friends over for a casual dinner and it was just the perfect music playing.

Cole Porter aurait adoré Patricia, femme discrète, presque effacée qui joue tout avec retenue ; il n'aurait pas forcément reconnu toutes ses compositions car Pat a un sens aigu de la transposition, voire de la recomposition, mais Cole n'aurait pas été rancunier car le résultat est là, fidèle à l'âme de ces 13 titres touchés par la Grâce. Ce n'est pas le meilleur disque de Barber mais une artiste de sa trempe devait se frotter à un auteur exigeant et réputé difficile. Au fond, Barber rime plutôt bien avec Porter.

I like Patricia Barber quite a bit, but not everything she does. This is sublime -- a real honoring of Cole Porter yet a contemporary album. This and Madeleine Peyroux's Careless Love (I know I am years behind and I don't care) have secure places in my 5 changer player for the next several months.

Another wonderful jazz r5ecording by the very t5alented Patricia Barber. I have enjoyed many of her previous releases and this is added to my top jazz recordings. Her arrangements are creative and capture the soul of the music.

Naming her a Living American Icon may seem over the top, but then Patricia the musician, the pianist (classically trained and street derived -- what a powerful left hand!), the songwriter, and not least either(!) a singer carving out mature complex richness, so after listening to her, you are over the top.

Great stuff from a great artist. Love her while she's living and catch her live too. She homes to Chicago (The Green Mill), but travels widely. Sui Generis musician.

Despite the inclusion of accomplished musicians, the approach to the singing is affected and disconnected. To my ears, it's all self-conscious performance and fake emotion. Why take on Porter if you're not going to deliver the lyric with real, distilled feeling? This music speaks for itself. It doesn't need any attempt at drama, no matter how laid back. Kind of a Jane Monheit-type delivery. All hype, no gut.