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SYDNEY
MORNING HERALD
METROPOLITAN
SECTION
April
12, 2003,
By
John Shand
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Patricia Barber
Verse
Blue Note/Premonition
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Stephen
Sondheim has observed that a well-crafted
song is like a one-act play, with
beginning, middle and end, and
character development. It is an
observation which applies beyond
music theatre. In presenting all-original
material this time out, Patricia
Barber has created stunning examples
of lyric-driven little one-act
plays. Stark phrases delivered
against dramatic backdrops pile
up on one another and develop
such momentum that one is drawn
inexorably to the words. She writes
poetically, without writing stand-alone
poetry. Like Sondheim - perhaps
the greatest lyricist of all -
she likes lists, with their spiralling
power as the listener's ear becomes
trapped in the
form.
Barber
delivers her songs darkly but
without histrionics, so the
drama builds organically. She
employs musicians who can describe
an entire scene in a smattering
of notes. Here she has the brilliant
trumpeter Dave Douglas (who
lit up Australia last November)
and Joey Baron, a drummer whose
style is defined by the music
he plays, rather than being
something he imposes. Regular
bassist Michael Arnopol is back,
and guitarist Neal Alger produces
shimmers and growls in counterpoint
to the words. Barber's own piano
playing is as flinty as a fine
chablis and it is to be hoped
that a tour soon eventuates,
because she is at the height
of her powers.
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