【Bruce Barth / Steve Wilson - Home: Live in Columbia, Missouri】(2010) ★★★★☆

(English follows Japanese)

 

My Favorite Album (367)

 

By Takaaki Kondo, Tokyo Jazz Review
http://tokyo-jazz-review.jimdo.com/

どちらも最早「中堅」~「ベテラン」の域に入りつつあるBruce BarthSteve Wilson2人は1980年代後半からNYで度々共演している仲だそうです

Bruce Barth
のオリジナルが4曲、スタンダードが3曲。2人の関係が完全にシンメトリーでありバランスが良いです。彼らは決して互いを邪魔せず音を交わし、相手のプレイをしっかりと聴いて完全に音楽を共有しています。リズムセクションなしのこのDuoでは、ほとんどの曲が"laid-back"していて2つの楽器が美しくシンクロしています

エネルギッシュなBud Powell"Wail"Thelonious Monk的な"Blues Interruptus""All Through the Night"でカッコイイ7拍子のイントロから強力にSwingする4/4拍子へと展開していく様は圧巻!Barthは自作曲を情熱的に再構築し、Wilsonは彼獨特のアルトの音色にますます自信を深めているようです

自宅のリビングルームで演奏しているようなアコースティック感溢れる録音も素晴らしいです!

 

(Personnel)
Bruce Barth: piano

Steve Wilson: soprano and alto sax


(Track List)

1. All Through the Night

2. The Ways of the West (Bruce Barth)

3. Keep It Moving! (Bruce Barth)

4. L.C. (Bruce Barth)

5. Blues Interruptus (Bruce Barth)

6. Wail

7. Sweet and Lovely


Website

Bruce Barth

Offcial Website

 http://brucebarth.com/

Facebook
https://www.facebook.com/bruce.barth.56?fref=ts

Steve Wilson
Offcial Website

http://www.stevewilsonmusic.com/

Facebook

https://www.facebook.com/stevewilsonjazz?fref=ts

https://www.facebook.com/stevewilsonmusic?fref=ts


Preview

https://itunes.apple.com/jp/album/id373182139?i=373182188&u1=date20120430it2373182139it1373182188

Buy CD

http://www.amazon.co.jp/Home-Bruce-Barth-Steve-Wilson/dp/B003O9I182/ref=sr_1_1?s=music&ie=UTF8&qid=1363504026&sr=1-1

EPK

The Pace Report: "Bruce Barth/Steve Wilson: Home"
http://www.youtube.com/watch?v=RPrs4l4s2ZU



Review

The increase in house concerts throughout the country is apparent, taking place in big cities like Los Angeles, San Francisco and Baltimore, as well as in smaller towns such as Columbia, Missouri, where this recorded duo date took place. Appearing at the home of Barbara Tellerman and Allyn Sher in 2009, pianist Bruce Barth and saxophonist Steve Wilson created some excellent music with vibrantly alive sound quality. Barth and Wilson have been playing together since they met in New York in the late eighties, mostly alongside each other in groups. This is the first time, though, that they have recorded as a duo, a context ideal for their sensitive, creative talents, providing ample space for back-and-forth exchanges and the freedom to expand in solos. The song selection includes four Barth originals, each containing varied textures. Adding the mix, each player brings in witty instrumental quotes from the Great American Ssongbook, including occasional phrases from masters like George Gershwin and Duke Ellington. Highlights are plentiful here, particularly on Barth's compositions, starting with "The Ways of the West," where the duo's chemistry is palpable in the sweet blending of piano and soprano sax at the song's beginning. In the liner notes, Wilson writes that he has the mentality of a "frustrated drummer," a quality apparent in his solo, which incorporates solid rhythmic bursts on his horn. On the atonal "Keep It Moving," Barth shows his Thelonious Monk influence, reaching a peak in his jagged solo. The pace is then slowed by the gorgeous "L. C.," featuring Wilson's haunting soprano solo, matched by Barth's flowing arpeggio runs. A further change of stride is provided by "Blues Interruptus." Lowdown and bluesy, Barth offers up a few bars, onto which Wilson immediately grabs with his alto. On Bud Powell's be-bopper, "Wail," Wilson gives his all in a dazzling, swirling Bird-like solo. "Sweet and Lovely" ends the CD on a high note. Barth's swinging, rocking solo suggests a mini-history of jazz, with allusions ranging from Earl Hines, Art Tatum and Fats Waller to Oscar Peterson and Erroll Garner. This wrap-up also underscores the almost extrasensory musical communication between its participants.

By LARRY TAYLOR, All About Jazz

 

The We Always Swing Jazz Series, the Columbia, Missouri-based, concert presenting and educational organization, and two well-respected present-day artists Bruce Barth and Steve Wilson are set to release Home, recorded live in Columbia, Missouri. The self-produced project captures the pianist and saxophonist/multi-instrumentalist on June 27, 2009, in a living-room performance.

The release is the second and the first in four years for the non-profit organization, which is celebrating its 15th Anniversary season. Home is a collaboration between the Jazz Series, which serves as executive producer, and the two acclaimed artists who serve as associate producers. Throughout this celebratory season we have tried to offer some different and special programming, notes Jon Poses, who founded the Jazz Series in 1995 and has served as its executive director since 1999 when it became a 501(c)(3) not-for-profit organization. We wanted to start the 2009/2010 season with something exceptional. And we did Bruce and Steve as a duo. It had been five years since our last House Concert and it was time to visit the concept again. Were very fortunate that one of our board members has not only a good-sized, warm and comfortable house with a perfect living room, but also owns a fabulous Steinway piano.

Seven selections from the concert, including four Barth originals written specifically for the occasion, were sequenced for the release. In addition to the Barth originals, Home includes Cole Porters All Through The Night, taken from the hit show Anything Goes; an up-to-the-minute reading of Sweet & Lovely, a standard; and a spectacular interpretation of Bud Powells Wail. Wilson plays mostly alto saxophone but also contributes stellar soprano saxophone on the date.

Poses, who himself has written more than 100 sets of liner notes, called upon Bob Blumenthal to annotate Home. Bobs about as good as it gets, said Poses. Were honored to have him participate. I felt the quality of the music and the project and the nature of the occasion called for someone of his stature. Poses complemented Blumenthals notes with a personalized descriptive piece. I wanted Bob to talk with Bruce and Steve about the music they presented; what I tried to do is place the We Always Swing Jazz Series as a whole, and this concert as a specific event, into some sort of context of what we attempt do organizationally.

As for Barth and Wilson, both landed in New York within a year of each other in the late 1980s. They met shortly thereafter and have worked together asmembers of others and each others bands often since then. However, as frequently as they have shared the stage and the studio during the course of the past two decades-plus they realized they had never recorded as a duo.

I like Steves earthy, funky, soulful approach, which at the same time is very sophisticated melodically and harmonically, Barth (pictured at right; photo credit: Janis Wilkins) said to Blumenthal during their interview, offering an explanation of the musicians

mutual attraction. He will always surprise you, and his improvisations are fantastic, but even in playing a melody he finds a way to put his stamp on it while still being true to the spirit of the original. I can identify him in three seconds when I hear him on the radio, whether on soprano or alto.

Wilson (pictu [Edit Image] red left; photo credit: John Abbott) offered a complementary take in Blumenthals notes. Its like tightrope walking without a net. Theres that empty space, and the temptation to fill it all up keeps you honest. It forces me to be patient and listen even more closely I talk to my students about our `internal rhythm sections and having a drummers mentality Im a frustrated drummer. Particularly with Bruce, his innate sense of time is there but is also unique; we can breathe together. Its a beautiful balance, keeping that internal drummer yet not worrying about when it slows down or speeds up.

Both Barth and Wilson have made previous Jazz Series appearances; Barth has appeared twice as a member of trumpeter Terell Staffords group as well as a member of Wilsons quartet; Wilson has appeared in Columbia previously as a member of Chick Coreas Origin, the late pianist James Williams Intensive Care Unit and, most recently aside from this performance, as a member of the all-star aggregation that went out as the Blue Note 7.

Barth and Wilson are set to return to Columbia on April 25 for a special performance and CD Release Party at Murrys Restaurant & Bar, a venue that has presented national jazz artists since opening in 1985. Bruces and Steves reprise in Columbia kind of serves as the other bookend to our 15th Anniversary Season, noted Poses. They got things started last summer. Since then we have hosted some 20 events great concerts, educational activities, a film seriesnow we have the opportunity to have Bruce and Steve neatly wrap and gently close the door on the 2009/2010 season. Its particularly gratifying to have them appear at Murrys, which has been one of our really important venues since our inception. Its also a place where both Bruce and Steve have performed previously on numerous occasions. It should be fun, concluded Poses.

Home will be distributed nationally through the Jazz Series and its web site wealwaysswing.org as well as through both Barths and Wilsons respective web sites (brucebarth.com; stevewilsonmusic.com). Additionally the project will be available through CD Baby. Plans are in the works to make available digital downloads of a select number of tunes as well as the CD in its entirety.

Barth and Wilson are in the process of setting up additional concerts. Each artist has separate representation but those interested in presenting the duo in concert should contact National Pastimes Productions, which can be reached at jazznbsbl@socket.net, booking@nationalpastimes.com, or .

The We Always Swing Jazz Series, founded in 1995, is an all-jazz, community-based concert producing and educational organization located in Columbia, MO. A 501(c)(3) not-for-profit corporation whose mission is to present, promote, preserve AND celebrate the great American art form known as Jazz. The Jazz Series, administered by We Always Swing, Inc., is an affiliated program of the University of Missouris College of Arts & Science. The organization receives funding via ticket revenue; national, state and local grants and contracts for services; sponsorships from area businesses; advertisement-based revenue; in-house merchandise; and from individuals generous tax-deductible contributions.
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