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KENNY G
@ THE TOWN HALL
JUNE 6



THE MANHATTAN TRANSFER
MEETS TAKE 6
@ THE TOWN HALL
JUNE 11



NATALIE COLE
@ THE TOWN HALL
JUNE 28



BUIKA
@ THE TOWN HALL
JUNE 18



FREIHOFER'S SARATOGA JAZZ FESTIVAL:
ERYKAH BADU, SNARKY PUPPY,
CHRISTIAN MCBRIDE, MONTY ALEXANDER
& MORE!
SARATOGA SPRINGS, NY
JUNE 27-28



SAVION GLOVER
JUNE 2-3



ROY HAYNES
JUNE 9-10



KATHLEEN BATTLE
JUNE 11



STANTON MOORE TRIO
JUNE 12-13



DAVID MURRAY TRIO
FT. TERRI LYNE CARRINGTON
JUNE 15-17



ABDULLAH IBRAHIM
JUNE 18-21



GATO BARBIERI
JUNE 23



ROBERT GLASPER TRIO
JUNE 24-27



BEBEL GILBERTO
JUNE 29-JULY 1



VICTOR WOOTEN
JULY 2-5



LARRY CORYELL &
THE ELEVENTH HOUSE REUNITED
JULY 14-19



DIZZY GILLESPIE™
ALL STAR BIG BAND
JULY 21-26



EARL KLUGH
JULY 28 - AUG 2



BOB JAMES
AUG 4-9



ROY HAYNES
AUG 11-12



TUCK & PATTI
AUG 13-16



THE LATIN SIDE OF HORACE SILVER:
CONRAD HERWIG
W/ GUEST MICHEL CAMILO
AUG 18-23



THE NEW KENNY WERNER QUINTET
ft. CHRIS POTTER, AMBROSE AKINMUSIRE,
JOHN PATTITUCCI, MARCUS GILMORE
AUG 26-30



JERRY GONZALEZ & THE FORT APACHE BAND
SEPT 1-6



ROY HARGROVE
SEPT 8-13



TRIO 3:
OLIVER LAKE, REGGIE WORKMAN & ANDREW CYRILLE
ft. ETHAN IVERSON, VIJAY IYER, JASON MORAN
SEPT 29 - OCT 1



LEE RITENOUR
OCT 6-11



DIZZY GILLESPIE™
ALL STARS
OCT 20-25



STANLEY CLARKE -
FALL RESIDENCY
NOV 3-8 & 10-15



FOURPLAY
DEC 1-6



DAVID SANBORN
ELECTRIC BAND
DEC 8-13



NELS CLINE & FRIENDS
w/ GUEST JOHN SCOFIELD -
CELEBRATING THE MUSIC OF JOHN SCOFIELD
JAN 26-27


Show Information
PATRICIA BARBER

2014-02-23
Showtime: 10:30PM
Doors Open at 9:45PM

MAKE RESERVATION
BAR TABLE
$20.00 $30.00




[ Complete Show Schedule... ]
Patricia Barber

From her early days leading a jazz trio in small Chicago nightclubs, Patricia Barber has drawn extravagant accolades. The praise came at first from local writers, impressed by her unique arrangements and coolly composed piano improvisations. As she added vocals to her repertoire, the praise poured in from national reviewers intoxicated by her recordings. And when (after years of international touring) she began to focus on her own compositions, kudos arrived from new fans, besotted by her lapidary lyrics and her often indelible imagery.



Since Barber doesnt consider herself a poet and since she didnt want to be a jazz pianist in the first place youd have to say things turned out pretty well.

Barber wrote (in Poetry Magazine, in 2005): I am a songwriter, which is not the same thing as a poet. Poetry is a passion, my ever present guide and inspiration. Though I indulge in very little of the lingua franca of the art. . . . I cannot talk about poetry, but I know poetry. Alone, with logic and diligence, I have studied, but for me art can be created neither by logic nor diligence. Like music, poetry is created in the mouth, in the ear, and in the air.



Thats an especially nuanced explanation; then again, the gleaming successes of Barbers art lie in the nuances, the nooks and crannies, of conventional performance. When the veteran music writer Don Heckman (in the Los Angeles Times) called Barber one of the most utterly individual jazz performers to arrive on the scene in years, he wasnt referring to the virtuosic spectacle that comes all too easily to todays jazz artists; he had homed in on the quiet audacity with which Barber has redefined the role of the singer-songwriter for 21st-century jazz.

Born in the Chicago suburbs, Barber came by music naturally. Her father was Floyd Shim Barber, a saxophonist who had worked with Glenn Millers orchestra, and the instrument beguiled young Patricia: When he played the saxophone around the house, Id put my hand in the bell to feel the music. She began playing classical piano at the age of 6, but by the time she had graduated high school in South Sioux City, Iowa, where the family had moved in the mid-60s, following her fathers death Barber had foresworn jazz entirely. It was hanging over my head the whole time, she recalled years later. But I thought that becoming a jazz musician was such a stupid thing for a woman to do for a smart woman to do that I tried to resist it.

Barber enrolled at the University of Iowa with a double major in classical music and psychology, while continuing to indulge the voracious reading habit she had nurtured since childhood. But the jazz echoes she thought shed banished only grew louder, and by graduation, she had decided to follow in her fathers path. She returned to Chicago, and in 1984 she landed the gig that put her (and the venue at which she performed) on the national jazz map: five nights a week at the intimate Gold Star Sardine Bar, which held 60 people at the most, but where the audience made up in sophistication what it lacked in size.

Soon her reputation spread beyond Chicago, spurred by enthusiastic response to performances at the Chicago Jazz Festival (1988) and the North Sea Jazz Festival in the Netherlands (1989), culminating in her major label debut (A Distortion Of Love) in 1992. Two years later, she released Caf Blue, her debut for the small Premonition label; working with label head and producer Michael Friedman, Barber garnered rave reviews from around the nation, which would quickly become the normal response to each new release.

At about the same time, Barber began a steady engagement at Chicagos legendary Green Mill (which was owned in the 1920s by a lieutenant of Al Capones, and is today considered the citys leading jazz room); when not on tour, she continues to perform there every Monday night. And, ever the student, Barber returned to academia in the mid-90s to earn her masters degree in jazz pedagogy from Northwestern University. (She regularly gives master classes in this country and overseas.)

Barbers first two albums for Premonition made her an international star: despite the labels tiny size, Barber sold more than 120,000 of the album Modern Cool and even more of the follow-up Nightclub, attracting the attention of Blue Note Records. In 1999 Blue Note started distributing her discs as part of a unique partnership the first joint imprint in the fabled labels then-six-decade history. In 2002, Barber moved into an exclusive contract with Blue Note, recording three albums, including Mythologies, a genre-crashing song cycle based on the writings of the ancient Roman poet Ovid; the project was supported by a Guggenheim Fellowship in composition (the first ever awarded to a non-classical songwriter).

By then, Barber had secured her place in modern jazz history. Among her contemporaries, only Cassandra Wilson had managed to create a comparable chemistry of new and old standards (catalyzed by uncategorizable originals); and only Diana Krall would match the compound appeal of Barbers rarefied vocals and pristine piano. In recent years, she has released two volumes of music recorded at the Green Mill, available on her own label.

Now with Smash, her January 22, 2013 debut on Concord Jazz, Barber proves that her poetry continues to search ever deeper, even as her music grows all the more magical.

 

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