VALUABLE ITEM WILL ONLY BE SHIPPED TRACKED AND INSURED or expresspost if tracked or insured is not available

A RARE OCCASION A LOW STARTING BID DO NOT MISS THIS ONE

VINYL BLAST IS PROUD TO MAKE AVAILABLE THIS RARE FACTORY SEALED COPY  OF NIGHTCLUB BY PATRICIA BARBER  LIMITED TO 2000 AND LONG OUT OF PRINT
THIS IS A RARE NOT NUMBERED COPY

BOX..........MINT  VINYL..... MINT FACTORY SEALED

Patricia Barber

Nightclub

Nightclub CD Track List

Barber's Nightclub at 45rpm Takes You There

For some reason, audio enthusiasts have a need to latch onto female vocalists with a passion that borders on the fanatical. Once they find her, they never let go. The careers of Amanda McBroom, Jennifer Warnes, Diana Krall and Janis Ian have all benefited from this compulsive/obsessive behavior. I have nothing against it. I just find it fascinating.

The latest feminine object of audiophile affection is clearly Patricia Barber. The reasons are clear, among them being: piano-driven acoustic music, a distinctive, smoky-sounding voice and Jim Anderson’s brilliant recordings—analog or digital.

I’ve seen Barber live twice now, and she is a genuinely gifted performer, with a world-wide fan base that from what I could see at these concerts could hardly be called “low brow.” Yet there is an evident “backlash” against her that also border on “compulsive/obsessiveness.”

There’s the charge that she’s “not jazz.” In fact, an early New York Times review had her listed as “pop” (and Barber answered that with a wry song called “If This Isn’t Jazz” (found on her Companion album. I find the “not jazz” charge ludicrous. Is she not a jazz musician because she’s popular and her records sell reasonably well? Does being popular make you “pop?” The same “purists” who whine about jazz not being appreciated and who complain that these great artists don’t get the acclaim they deserve, are the first ones to turn on the ones who manage a modicum of success. I don’t get it.

That said, Barber’s music is not for everyone and no, she’s not in the same league as the late Shirley Horn, but then few contemporary female jazz vocalists are, and what does that have to do with appreciating Barber? Nothing. Yet I have heard a few folks whine about the Barber-fetish among audiophiles, while Horn remains below the musical horizon. Again, that’s too bad and not fair to either of these great ladies. End of rant.

Though this album is called Nightclub it is not recorded in one. Rather it is a carefully conceived studio album that attempts to create the feel of a nightclub after hours: intimate, one-on-one and very personal. So mostly this is a trio album, with Barber on piano backed by bassists Michael Arnopol or Marc Johnson, and drummers Adam Nussbaum or Adam Cruz. On three tracks Charlie Hunter adds 8-stringed guitar.

An album of standards—shopworn tunes that have all been covered through the years by others with longer and more glowing resumes—was clearly a risky proposition inviting comparison. Yet Barber inhabits the tunes, lives in them and discovers ways to freshly deliver them. That’s what an original stylist can do, and Barber is clearly one of those. She does it without frills or affectations. Instead, she holds back and ends up expressing more by doing less. That takes an inner strength coupled with vulnerability that Barber exudes—especially if you do get to see her live.

Anyone who can bring something new to “Bye Bye Blackbird,” “Autumn Leaves,” and even “(What’s It All About) Alfie” gets a tip of the stylus from me.

Other tunes include Eddy Arnold’s “You Don’t Know Me,” famously covered by Ray Charles, “Summer Samba,” which you know even if you don’t think you do, and “A Man & A Woman.” Even Barber’s sambas and bossa novas have a deliberate pacing and a weighty mysterious air, with little of the expected sunny lilt, yet they don’t fall down.

This is a performance from all that draws you in, rather than pushing you back in your listening chair. All of the performances are of a singular, sultry mood that is both Barber’s biggest draw and her biggest weakness, as she doesn’t seem capable of breaking free of it to express some other range of colors. But that’s an issue for another day or for another record because this one sets a mood that’s deep and warm, like a comfortable chair you’re in no hurry to exit. The spaces between the notes are as nourishing and palpable as what she chooses to express physically.

The warm, inviting recording gives the illusion of being simplicity itself, with Barber, piano and bass center stage and the drum kit spread subtly across it. Even Barber’s keyboard extends outward from the center as she plays. The images are larger than life and vibrant. The glue that holds the picture together and gives the images body and dimensionality is the rich, natural ambience Anderson skilly adds to these live performances (only one featured a backing track over which Barber later added vocals) thanks to a live chamber set up in a hallway and adjacent landing, using speakers and microphones.

24 channels (give or take a few) of digitally recorded sound (a Sony 3348 48 channel machine) mixed to 2 track ½” Dolby SR encoded analog tape produced the rich, inviting sound you’ll hear on this double LP 45rpm set or on the SACD release.

This is the third Mo-Fi double 180 gram LP Barber box set I’ve auditioned, and according to Music Direct, which owns Mobile Fidelity, as with the others, it is among the label’s best sellers despite the steep price. What’s more, the purchasers are the same folks who bought the others. Call them fans, or fanatics, they obviously know what they like. At least one of these great sounding sets belongs in your record collection. This is the one I’d save for a rainy day.

Act now before all of the copies disappear and command higher prices on eBay!

WHEN BIDDING YOU AGREE WITH THE FOLLOWING TERMS & CONDITIONS,  PLEASE ASK QUESTIONS BEFORE BIDDING ONCE YOU BID YOU AGREE TO PAY  FOR THE ITEM PLUS SHIPPING & HANDLING;

THE FINE PRINT, TO PROTECT YOU AND ME "IMPORTANT" TO READ ESPECIALLY ON HIGH PRICE RARE ITEMS.

ACTUAL COST OF POSTAGE WILL APPLY WAIT FOR INVOICE BEFORE PAYING

SALES TAX WILL APPLY FOR CANADA

DUTY AND OR LOCAL TAXES PAID BY BUYER IF APPLICABLE

NO RETURNS ON THIS FACTORY SEALED ITEM

ITEM WILL BE WELL PACKED AND SHIPPED INSURED

HANDLING FEES $4.00

PAYMENT TO BE DONE WITHIN 4 DAYS OR EXPLAIN TO ME WHEN IT WILL BE DONE PLEASE COMMUNICATE, ANY UNPAID ITEM WILL BE REPORTED TO EBAY

Your winning bid/purchase is a binding contract to purchase this item.

ONLY SERIOUS BUYERS

ANYTHING NOT CLEAR ASK BEFORE BIDDING

VINYL BLAST AUDIOPHILE reserves the right to automatically upgrade shipping to Registered Mail or Express Courier in the following instances,
Buyers with Zero or Low Feedback score, Buyers with Negative Feedback, Buyers with Private Feedback or Orders which are of High Value or Very Rare Items, Countries which do not offer a Registered Mail service must take Express Courier, WE ALSO RESERVE THE RIGHT TO REFUSE BIDS AS APPROPRIATE AND AT OUR OWN DISCRETION, WE WILL INFORM BEFORE PROCEEDING.

REGISTERED AIR MAIL
Please contact us for a quote.

EXPRESS COURIER
Please contact us for a quote.

FEEDBACK
Feedback is very important and we always upload  feedback ASAP . When you receive your order please take a moment to leave feedback for us. Remember if there is any problems, please don’t hesitate to contact us and we will always do our best to resolve it to your  satisfaction.

WE SPECIALIZE IN COMBINED SHIPPING FOR MULTIPLE PURCHASES, CONTACT US FOR A QUOTE!

COMBINED SHIPPING
Once an order enters shipping process it cannot be combined with any other items. We do not combine items automatically. If you are making multiple purchases it is important to let us know ASAP.

PACKAGING
We specialize in professional discreet double or triple packaging. All shipments are sent in high quality bubble wrap envelopes or stiff cardboard boxes. Extra care is taken with large orders, paper sleeve editions & boxed sets.

DISPATCH & DELIVERY
Our stock is stored in Laval Quebec Canada, SMOKE FREE HUMIDITY CONTROLLED HEATED AND AIR CONDITIONED  ENVIRONMENT, WITH NO DIRECT SUNLIGHT ON STOCK. After payment has been cleared by Pay Pal, please allow around 1 to 2 work days for packaging, handling & dispatch. We dispatch orders most days, except for weekends & public holidays. If a purchase is made on a Friday, we recommend prompt payment to avoid any weekend delay. Please allow more time for delivery during busy periods such as 4th July, Thanksgiving, Xmas, Easter or New Year. Once an order has entered the shipping process we cannot cancel the order, refund or combine any extra items. If you are buying more than one item, then it is important to let us know. Combining different items into one order can result in dispatch delay, please allow for this. Please note incorrect payment of shipping will result in significant dispatch delay!

PAYMENT CUSTOMS & LOCAL TAXES

We can only accept Pay pal for payment processing. All purchases Must be paid within 4 days. It is important to contact us if your payment will be  late. We are a Registered Canadian Business & must collect sales taxes on all Canadian purchases. We are not responsible for any customs duty or local taxes that may be payable. If your purchase is a gift you must let us know prior to dispatch. Marking customs documentation as a gift does not guarantee there will be no duty or local taxes payable. Payment of customs duty or local taxes is the responsibility of the buyer.

CUSTOMER CARE
We pride ourselves on our professional customer service. If you ever encounter a problem with an order, please don’t hesitate to contact us. We will always do our best to resolve it to your complete satisfaction.

Thank you for shopping VINYL BLAST AUDIOPHILE, please visit us again soon.