<tc>Patricia Barber - Higher</tc>
<tc>Patricia Barber - Higher</tc>
<tc>Patricia Barber - Higher</tc>
<tc>Patricia Barber - Higher</tc>
<tc>Patricia Barber - Higher</tc>
<tc>Patricia Barber - Higher</tc>
<tc>Patricia Barber - Higher</tc>
<tc>Patricia Barber - Higher</tc>

Patricia Barber - Higher

Les vinyles dit "Rarissime" ne peuvent pas être échangés car ce sont des exemplaires uniques d'éditions épuisées.
En cas d'endommagement, les vinyles Rarissimes sont remboursés - après retour - mais ne peuvent être échangés contre un autre exemplaire.
La TVA est incluse dans le prix pour les pays de l'Union Européenne, et ajustée sur la base du pays de destination au moment du paiement.
Temps moyen d'expédition : 2 à 4 jours ouvrés. L'expédition est gratuite au sein de l'Union Européenne au dessus de 99€ d'achat, sauf pour certaines destinations, et jusqu'à 50kg. Au dessus de 50kg, frais d'expédition sur demande à contact@audiosounmusic.com. Il n'y a pas de politique de retour pour les pays hors Union Européenne.


Piano, Vocals – Patricia Barber [click here to see more vinyl featuring Patricia Barber]

Bass – Patrick Mulcahy

Drums – Jon Deitemyer

Soprano Vocals – Katherine Werbiansky

Tenor Saxophone – Jim Gailloreto

Written by Patricia Barber

1 LP, standard sleeve

Limited to 1,000 numbered pressings

Original analog Master tape : YES

Heavy Press : 180g

Record color : black

Speed : 33 RPM

Size : 12'’



Record Press : MPO (Moulages et Plastiques de l'Ouest) in France

Label : Impex

Original Label : Impex

Recorded and mixed by Jim Anderson

Produced by Patricia Barber and Ulrike Schwarz [Technical Producer]

Mastered by Bob Ludwig at Gateway Mastering

Lacquer cut by Daniel Krieger at SST GmbH

Originally released in January 2019



Side A - Angels, Birds and I

  1. Muse
  2. Surrender
  3. Pallid Angel
  4. The Opera Song 

Side B:

  1. High Summer Season 
  2. The Albatross Song 
  3. Voyager
  4. Higher


    Reviews :

    “As a singer and writer, Patricia Barber has never been easy to define. In the audiophile world, she's too often defined—and her brilliance obscured—by her ubiquity at audio shows and her regrettable membership in a sorority of generic, well-recorded "female vocalists." But in what idiom?

    Most of Barber's early work was obviously jazz, and today she continues to perform straight-ahead jazz on Monday nights at Chicago's Green Mill, where she has appeared for decades. Over time, though, her studio work has shifted toward meticulously accompanied poetry, especially on the albums Verse and Mythologies, and she has been keeping company with opera singers and classical music scholars.

    It seems natural that a writer and performer of such songs would eventually choose to compose art songs suitable for either jazz or classical performers. Higher begins with the eight songs of Barber's cycle Angels, Birds and I, an early version of which she performed with opera diva Renée Fleming in Chicago, Washington DC, and New York City in 2015. On Higher, we get hints of Fleming's approach in the two versions of Barber's slyly humorous "The Opera Song," the first sung and played by Barber and her musicians, the second by soprano Katherine Werbiansky, accompanied by Barber on piano.

    The first three songs of Angels, Birds and I are dedicated, respectively, to Fleming ("Muse"), Barber's teacher and mentor Shulamit Ran ("Surrender"), and musicologist/University of Chicago professor Martha Feldman ("Pallid Angel"), who is also Barber's wife. There's a careful balance here: "Muse" is a nakedly intimate lesbian love song ("Such sweet entanglement/Fingers, legs, and hips"); in "The Albatross Song," a woman leaves her rich, stylish, bourgeois husband for a man with "bedroom eyes" who is "more like a bird than a man." Here, she follows the tradition of countless classic art song composers, including Franz Schubert, who wrote songs in which men sang the roles of female protagonists and, in some cases, women sang men's roles.

    Beyond any talk of who is what and in whose arms they lie, Angels, Birds and I is revelatory, a cycle sung in an oft-declamatory, measured style by a creator whose surface coolness barely conceals deeply felt sensuality and passion. It is too soon to call it a masterpiece, even if it's tempting—Barber has written and recorded many great songs over a span of 30 years. But it is not too soon to proclaim it a cycle with considerable power to move and provoke.” Jason Victor Serinus, Stereophile, August 2019

    “Like most TAS readers, I first heard Patricia Barber, whose career here approaches the 40-year mark, on Café Blue, her 1994 album that made her a star in high-end audio, owing to a superb recording by her long-time engineer Jim Anderson, and also among connoisseurs of innovative, cutting-edge jazz. Although classically trained, she is known for a cool, intense, highly personal style as singer, pianist, and songwriter. Higher, her 18th album and first in the studio since 2013’s Smash, showcases what may be her most ambitious, and surely her most personal, composition yet, Angels, Birds, and I . . ., a cycle of eight songs she frankly calls art songs (she performed an early version with Renée Fleming in 2016). Dualities inform several of them, from lesbian lovers and a woman leaving her wealthy husband (“the sovereign suburban overlord”) for her free-spirited lover (“a wandering albatross”) to those that inform Barber’s own creativity as pianist, singer, and lyricist. Layered with multiple meanings, these introspective songs require and reward repeated listening. Inventive takes on three standards from the Great American Songbook fill out the program. The contributions from Barber’s instrumental quartet are first-class. Immediate, close-up, transparent sonics.” Paul Seydor, The Absolute Sound, Jul 21st, 2021


    Ratings :

    Discogs : 4.59 / 5 

    Vu récemment