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Patricia Barber has one of the most substantial voices in contemporary jazz. She is a different artist who has managed to carve out a musical space for herself in which she suggests the ideas, builds the pieces with her piano, brings friends in to play other instruments in the adventure of harmonising and, in the end, she adds her voice to the resulting material, extracting an emotion not easily found in other performers.
This year she has released an album called “Higher”, and its songs still display all the arguments that have fed her imagination ever since, way back in 1994, she entered the professional scene of Chicago; back then she didn’t have any other claim to fame other than being the daughter of Floyd “Shim” Barber, a musician who was once a member of the Glenn Miller Orchestra.
Patricia Barber has a dark contralto voice, filled with blues emotions. Awards keep accumulating in her biography, as do her albums. In them, apart from developing her own ideas, Patricia has also embraced the music of Henry Mancini, The Doors, Cole Porter or Duke Ellington. And in her texts, when she ponders the emotions in all their magnitude, there is always an intense emotional tension.
Components Patricia Barber: piano Larry Kohut: bass Jon Deitemyer: drums