Customer Reviews

Live: A Fortnight in France

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

 

 

I would give this recording five stars just for the covers of "Laura" & "Blue Prelude" - both beautiful & sensitive renditions with bluesy guitar saturating one & gorgeous Bass warming the other. Both held together by the warm & lovely voice of a most underrated Patricia Barber. This disc is filled with many contrasts and textures - kind of like a beautiful woven expensive piece of fabric. The highest points are reached on the compositions that Barber pens herself. "Gotcha" and "Pieces" are just exceptionally written & performed. This band is tight as ever. The drummer & guitarist add much color and energy to these tracks. They absolutely soar in these various live settings. My favorite however is the instrumental "Crash" with its somewhat offbeat groove. The band rolls like thunder with Patricia showing off her exceptional keyboarding skills. She also dazzles and dances on "Norwegian Wood" - sounding a little like Chick Corea on one of his famous Jazz solos. Her growth as an artist continues and her future star is definitely bright. This would have been a perfect recording to capture on DVD. The lady is magnificant & leaves me with a big smile on my face - again. If you have not experienced Patricia Barber, this live recording is a great place to start. Enjoy!!!

Anyone that has seen Patricia Barber live in the past couple of years can attest that her band is one of the tightest, most creative jazz combos around. Her too-cool-for-school singing and sharp piano technique easily keep up with the chops of her stellar bands. Though this CD doesn't completely capture the heights of her live shows (can't see her pluck the piano strings like a harp), it is still has some amazing cuts.

In this case she is joined by Neal Alger on guitar, the very clever Eric Montzka on drums, and by her brilliant longtime bass player Michael Arnopol. Listen to the sick groove they cook up in Crash or to the simmering precision they bring to Pieces and try to find a better example of a band keeping jazz fresh and vital.

I'm docking the CD a star for being too short (could have fit at least one more song on there) and having too many slow songs that don't really show off what Ms. Barber is capable of. On the other hand, the sound quality is exceptional (as with most of her CDs, it is mixed by Jim Anderson), and this CD is still a good snapshot of an exceptional combo.

Buy this CD, put on Norwegian Wood and get blown away by the best band out there.

In giving a recent rave review to Madeleine Peyroux's "Careless Love", I pointed out how that and 4 other albums have made 2004 an extraordinary year. Evidently, I wrote too soon. Add this one into the mix, and call it "The Gang Of 6." Christopher Louden of Jazz Times calls this one of the year's best, and I concur fully.

In listening to this live album recorded in 3 venues in France, I was struck by this thought: in listening to Caetano Veloso, Americans who don't speak Portuguese can't understand the words he sings, but there's no mistaking the emotion; hence his greatness. Judging by the enthusiastic applause throughout, the French must feel the same way about Patricia Barber.

And I think the reason why is this: If Anne Bancroft's Mrs. Robinson from "The Graduate" could sing, she'd sound like Patricia Barber. I.e., that clipped sense of matter-of-fact cool, masking a profound sense of personal pain. As such, Ms. Barber is the perfect artist to re-interpret Johnny Mercer's "Laura", as she does here with such wistful sadness. And she adds a new level to the encore of "Call Me"; rather than the familiar ubercool of June Christy or Chris Connor, she delivers the song in a conversational, intimate tone. It really works.

Special kudos to the instrumentalists as well. Neal Alger(g), Michael Arnopol (b) and Eric Montzma (d) sound very "Mahavishnu-esque" on "Crash" and "Whiteworld." And based on what I remember of "Nightclub," I think Ms. Barber's pianistic chops have grown. I recall her playing very sparely there, a la Duke or Monk; but here, her expansiveness on "Norwegian Wood" and "Witchcraft" is impressive.

Among Patricia Barber aficionados and other critics, "Modern Cool" by consensus is considered her best. They're probably right; but I think this one deserves to be on the same shelf. RC

As a big fan of Patricia Barber, it's difficult for me to be critical of her latest release but I found "A Fortnight In France" somewhat disappointing.

The best songs on here really shine, and I especially liked her new work in "Gotcha" and "Whiteworld" (with all due respect to the other reviewer). Also, her live version of "Pieces" is much better and more interesting than the original studio track on her "Verse" album. But the most enjoyable material here is in her covers of "Call Me" (sensuously sung as you've never heard it before), "Witchcraft" (with its irresistably simple yet sophisticated melodic variations), and--most of all--"Norwegian Wood" (in which she even dazzles the listener into forgetting the beauty of the Lennon-McCartney hit by making the piece totally her own).

"Dansons La Gigue!" (adapted from a Paul Verlaine poem) isn't bad either. However, in spite of the fantastic chops of her extraordinarily talented and tight jazz band, "Crash" seemed to fall apart and disintegrate before my ears, like a very basic, good little musical idea that just could not bear the weight of so much abstract improvisation. It struck me as more ambitious and self-indulgent than inspired. "Blue Prelude" and "Laura" failed to rouse me either. Barber's voice, such an effective and powerful instrument in itself elsewhere, sounded tired on those tunes, instead.

Overall, if this had been anyone else, I would have given the album a higher rating, but Patricia Barber has spoiled me. She is just too darn clever and soulful an artist for me to automatically grant her four or five stars for such an uneven record. There is some excellent stuff here, and several numbers I will no doubt play over and over again, but for the casual music buff "A Fortnight In France" is not an essential item in the Barber catalog. I have seen Barber perform live and she is absolutely amazing. Her cover of Leonard Cohen's "Suzanne" would bring tears to the eyes of even the most jaded cultural philistine. But this album ranks somewhere between "Nightclub" (**) and "Companion" (****) in capturing the charms of her concerts. As for her studio work, albums like "Split," "Modern Cool," and the latest "Verse" are clearly superior.

Watch out, though. In the liner notes to "A Fortnight In France," Barber mentions that "Whiteworld" is only the first composition of an 8-song cycle she is in the process of writing and preparing to release soon. Now that promises to be another winning treat. I can't wait.

Her voice has the ability to send chills. She has a mastery of the piano that exceeds many whose exclusive specialty it is. Her band is exceptionally tight. When this group does the Beatles' standard, Norweigian Wood, one experiences, not a loss in the translation, but an original that gains. The lyrics carry a strong imagery, all but lost in modern music today. I could have done without "Whiteworld" -- been there, heard that. A small complaint. This is an elegant, wonderfully structured sample of a consistently strong, and at once disciplined and creative artist.

I'm one of those crazy people who's spent 15 or 20 years upgrading thru various audio components b/c I'm so obsessed with sound quality. Suffice to say, I have a true (expensive) "high end" audio system. Most of the time, "Redbook" CD's vary between awful, & excellent (with most of the excellent sounding ones including CD releases from Elaine Elias, or Diana Krall, or Angella Hewett on Hyperion, or on labels like Mobile Fidelity or Chesky.

If someone told me this was on HDCD, or even SACD, I'd believe it. That's how good this sounds: like a well recorded SACD played on a very nice system. The music? Forget about it (I know, you had to be a member of the Sopranos crew to use that term convincingly). Just to pick one musician: the drummer is so good, it's nuts. They didn't have a percussionist in addition to the drummer? It sure sounds like it, but apparently just the one drummer. I have to stop now & listen more.....

I heard a track off this listening to a feed on Rhapsody. It was a Jazz channel they feature new(er) artists on called The New Breed. I heard Norwegian Wood. 1st thing is I actually liked her singing, and I am not a fan of Jazz Vocals. It was the piano solo that got me searching the Internet for personnel on the CD/Track to find out the pianist. I was surprised to find it was the vocalist herself. I purchased this CD and have not been disappointed. The guitarist Neal Alger generally gets more opportunity to influence the tunes than does Barber with her Piano but Norwegian Wood is a track where she takes an extended solo. She has a definite style and it is dark and moody yet it alive and vibrant (kinda a contradiction but that is my gut). I don't think anyone was ever quite like Billy Holliday and similarly noone is quite like Patricia Barber. I will compare her treatment of pop/rock/folk songs to Cassandra Wilson who has gotten great results from a tune like "Wichita Lineman". 1st, I didin't buy Cassandra's CD after hearing it on local Jazz radio but I heard it quite a bit as it seemed to get a lot of promo. Patricia seems more "real" in her interpretation of tunes. She has done a lot of things like Norwegian Wood or similar to Cassandra's Wichita lineman in her previous CD releases (which I have listened to on Rhapsody). I may be hammered pretty hard by some since Cassandra Wilson gets a lot of praise in many Magazines and reviews. Not to Dis' on Cassandra but to put Patricia Barber in a place. Patricia does not have the notoriety of Cassandra but she has the "meat", the talent and the delivery. Certainly she is due the type of recognition that more well known artists receive, and most likely she will get it. My favorite tracks are Crash, Whiteworld and Norwegian Wood.

I purchased this based on one song that I had heard on the radio. The album wasn't what I expected. I still like that song.

One of the most pleasing albums I've heard from Patricia Barber. Patricia, who can move from Cool to sound icy and edgy, seems much more relaxed, and, well, happy here. She seems to like France and her French audience loves her!

There is much more feeling than we are used to here. I like her treatment of the standards, especially *Laura*, the deeply felt vocal sensuality and sensitive guitar accompanyment highlight her arrangement. The album is worth your money for *Laura* and *Blue Prelude*. *Dansons la Gigue* is intregueing - (I'd like to have a translation - my French isn't good enough to tell what Verlaine is alluding to, but I don't think it's just about dancing a gig). The vocal part of *Norwegian Wood* (also like *Laura*, sung, as written without changes), starts out like John Lennon's arrangement, and then shifts gears and becomes an involved Jazz instumental, almost like another song. *Blue Prelude*, *Call Me* and *Witchcraft* are also relaxed, sensual and thoughtful. *Pieces* is quite clever.

But then she changes mood in *Whiteworld*. Could have done without that sermonette. Program it out on your CD player and you'll have the most satisfyingly listenable CD Patricia Barber has done for years.

Well recorded. A fortnight well spent! Sounds to me like Patricia in love.