Jazz Articles about Bruce Barth

like 158

Sam Newsome: This Masquerade

by C. Andrew Hovan
January 1, 2002

It's been ten years now since saxophonist Sam Newsome made his debut recording as a leader for Criss Cross Jazz, Sam I Am. Prior to that he had spent five years on the front line of Terrence Blanchard's quintet. Already established within the hard bop community and known as a tenor saxophone stylist of note, Newsome made a bold move in 1995 by focusing exclusively on the soprano horn. Furthermore, he would develop a unique muse in the guise of ...

like 165

Bruce Barth: East and West

by C. Michael Bailey
July 1, 2001

MAXJAZZ Inaugurates their long awaited follow up to the Vocal Series with the Piano Series—and the label debut of one of their own.

Pianist Bruce Barth is a producer for MAXJAZZ. He has been instrumental in producing the highly successful Vocal Series for the label. He now steps halfway out of the sound booth and gets behind his piano to produce, with the help of an all-star cast, jazz of great complexity, thoughtfulness and sensitivity. I don't know if Mr. ...

like 216

Bruce Barth: East and West

by C. Michael Bailey
July 1, 2001

MAXJAZZ Inaugurates their long awaited follow up to the Vocal Series with the Piano Series—and the label debut of one of their own.

Pianist Bruce Barth is a producer for MAXJAZZ. He has been instrumental in producing the highly successful Vocal Series for the label. He now steps halfway out of the sound booth and gets behind his piano to produce, with the help of an all-star cast, jazz of great complexity, thoughtfulness and sensitivity. I don't know if Mr. ...

like 194

Sam Newsome: The Tender Side of Sammy Straighthorn

by C. Andrew Hovan
November 1, 2000

Picking up the soprano saxophone these days as your sole instrument can be a dangerous proposition. For one thing, the straight clarinet-like horn is notorious for going out of tune if your embouchure is not up to par. Secondly, a whole generation of Kenny G clones has left some fans thinking that the instrument is only capable of insipid and saccharine results. Venerable enough to make the soprano the focus of an entire album, Sam Newsome's The Tender Side of ...

like 178

Tim Armacost: The Wishing Well

by Joel Roberts
June 1, 2000

A quick look at his bio, and a quick listen to his accomplished new release on Double-Time Records, makes clear that 37-year-old Tim Armacost is no run-of-the-mill tenor saxophonist. A well-travelled, broadly educated New Yorker (via L.A., Washington, Tokyo, Amsterdam and India), Armacost draws heavily on the Coltrane and Rollins legacies, but has enough fresh musical ideas and sheer instrumental muscle to avoid falling into the trap of mere hero worship.

Armacost begins the proceedings here with a lush, leisurely ...

like 143

Tim Armacost: The Wishing Well

by AAJ Staff
June 1, 2000

In order to play true jazz, a musician needs to assimilate all that went before him, paying particular attention to those artists who charted the course and defined the vernacular for the specific instrument that he has set out to master. In music, nothing ever gets pulled out of thin air. You carry forth a linage, and hopefully along the way, through intense study and careful examination, you can extend that lineage by putting your own fingerprint on what you ...

like 122

Bruce Barth: Hope Springs Eternal

by Glenn Astarita
December 1, 1998

On “Hope Springs Eternal” veteran East Coast pianist Bruce Barth is supported by a fine entourage consisting of Steve Wilson: alto/soprano saxophones/flute; Ed Howard: bass and Adam Cruz drums. The title cut leads off with Barth’s melodic touch and Wilson’s lush lyrical soprano. Barth is the pilot here as he’s prone to shift gears and investigate various avenues of melodic development while displaying enviable chops. Steve Wilson is a fine player and meshes well with Barth’s stylistic approach. Another Barth ...