| | Bruce Barth Live At The Village Vanguard CD Bruce Barth Discography of CDs
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Bruce Barth has a reputation for being one of the more singer-friendly jazz pianists on the East Coast. Some jazz instrumentalists can be very myopic when it comes to singers; they go out of their way to avoid them. But Barth has been good about accompanying singers, which is why everyone from Kevin Mahogany to LaVerne Butler to Dominique Eade has employed him as a sideman. Nonetheless, Barth is primarily an instrumentalist, and this CD is among the releases that finds him in a leadership role instead of an accompanist role. Recorded live at New York's famous Village Vanguard in August 2002, this post-bop/hard bop disc unites Barth with bassist Ugonna Okegwo and veteran drummer Al Foster. Barth's albums usually contain at least one or two pieces by Thelonious Monk, and Live at the Village Vanguard is no exception. On this CD, Barth turns his attention to three Monk compositions ("Let's Call This," "Evidence" and "San Francisco Holiday") as well as Cole Porter's "In the Still of the Night" and some original material. But as much as Barth obviously appreciates Monk's writing, he doesn't sound a lot like him. As a soloist, Barth actually has more in common with Bill Evans, Chick Corea, Herbie Hancock and Keith Jarrett. Nonetheless, he will, at times, acknowledge Monk's angular style of playing during a solo--overall, Evans and Hancock are greater influences on Barth's playing, but that doesn't mean that he can't have the occasional Monk-ish moment when he's improvising. Live at the Village Vanguard isn't groundbreaking; Barth never pretended to be an innovator. But he's good at what he does and has his share of inspired moments on this solid, if derivative, outing. ~ Alex Henderson
Recorded live at The Village Vanguard, New York, New York on August 3-4, 2002.
Personnel: Bruce Barth (piano); Al Foster (drums).
Audio Mixer: David Baker .
Recording information: Village Vanguard, New York, NY (08/03/2002/08/04/2002).
Photographers: Dena Katz; Jimmy Katz.
Arrangers: Ugonna Okegwo; Bruce Barth.
Personnel: Bruce Barth (piano); Ugonna Okegwo (bass); Al Foster (drums).
JazzTimes (6/03, p.113) - "....A sublime melodist whose varied lines induce dreams one moment and smack us in the chops the next, Barth possesses a harmonic palette whose spectrum of colors evokes Bill Evans at one end and Thelonious Monk at the other..." Live At The Village Vanguard Music Bruce Barth Live At The Village Vanguard Songs Live At The Village Vanguard Review
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This release from U.S. contemporary jazz group Art Ensemble Of Chicago combines two previous recordings, LES STANCES A SOPHIE, featuring vocalist Fontella Bass, and PEOPLE IN SORROW.
This recording, comprised of two complete Art Ensemble of Chicago albums -- Les Stances a Sophie with singer Fontella Bass from 1970 and People in Sorrow from 1969 -- offers two very different sides of the group's sound from this key period in their development. Recorded in France and released on the Nessa label in the United States, the two discs show how much in command the AEC were of their strengths even at that early date, though for the record it should be noted that with the exception of Don Moye and Lester Bowie, the trio of Roscoe Mitchell, Joseph Jarman, and Malachi Favors had been playing together since 1965. Living in self-imposed exile in France, the band explored the complete historical continuum of jazz and moved the free jazz boundary further to the left. While Les Stances a Sophie is perhaps the most accessible AEC album from the 1960s or 1970s, it nonetheless showcases the love of adventure inside traditional forms. Fontella Bass, married to Bowie at the time, was a catalyst coming from the gospel and R&B traditions. She brought out the sense of groove and grit in the band's rampant experimentalism, and Bowie reigned them in further with his own swinging pastoralism that came just as much from Louis Armstrong as it did from Ted Curson and Albert Ayler. The finest examples of the culture clash in the jazz lineage come on "Theme de Yoyo," on which Bass sings, and the shuffling New Orleans swing of "Variations on a Theme of Monteverdi." There's plenty of AEC weirdness here, too; beautiful passages of multi-textured dissonance and elongated improvisations on thematic statements. But as fine an album as Les Stances a Sophie is, it cannot compare to one of the true masterworks in the AEC's catalog, People in Sorrow. Comprised of just one piece -- split into two long sections as it was on the original LP -- People in Sorrow is a meditation on sound itself. This is the AEC at their most adventurous, yet their most dynamically restrained. There are periods of long silence interrupted sometimes only by a single percussion instrument, bass note, or series of tonal breathing from the horns. The effect is crystalline, sad, beautiful, and haunting. It is heartbreaking in its beauty and poignant in its intent. When tension seems to grow, efforts are made collectively to dispel it in order to stay focused on the thematic elements in the improvisation. When the AEC do engage in sound as a group and the flow becomes more immediate, there are always one or two instrumentalists holding back, anchoring everything in the mystery of sonic inquiry. ...
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Track Listing of songs: The One I Love; Don't Worry 'Bout Me; Makin' Whoopee; Whatever Will Be, Will Be; Here In My Arms; Love Me Or ...
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