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Detroit musicians John Barron and Patrick Prouty are long time friends, and musical associates who collaborate once again for a special and endearing duet recording project called Tunnel & Bridge. With Barron on guitar and Prouty playing upright bass, they have recorded eight original compositions and reharmonized interpretations of both “O Canada” and “The Star Spangled Banner,” as a special tribute to fellow Detroit musicians drummer Alberto Rosal, and vocalist Odessa Harris who have both passed on.
The obvious disadvantage of duet recordings is the limited nature of the instrumental aspect of the music, yet this very point offers the opportunity to absorb every chord, and feel the impact of every pluck of the strings, helping to truly hear the music. Barron and Prouty provide such an experience here, with their sharp interchanges and fluid soloing on every track. On the opening “Exit Strategy,” Barron jumps out in the lead while Prouty occupies the background role, a dynamic which is eventually reversed as the piece progresses, providing a formula that works well.
Prouty takes center stage on “Kravdraa,” and delivers strong bass lines alongside Barron’s more supportive guitar runs. In contrast, it is Barron who comes out in front on his composition “Get the Goods,” which features one of the best melodies on the album. An especially moving track is Barron’s “Eternal (For Odessa),” obviously dedicated to the late singer Harris, a soft and warm number effective in conveying the emotional tribute it was designed for.
The playing time on Tunnel & Bridge is only thirty-eight and a half minutes in length, but still long enough for John Barron and Patrick Prouty to bare their musical souls in a unique and special recording that will definitely appeal to peoples' softer sides.
Track Listing: Exit Strategy; Kravdraa; The Actor 1; Get The Goods; Alberto; Warm Waters; O Canada/The Star Spangled Banner; Eternal (For Odessa); The Actor 2.
Personnel: John Barron: guitar; Patrick Prouty: upright bass.
I love jazz because it's so different than pop and has an emotional pull that other music does not have.
I was first exposed to jazz when I saw Dave Brubeck in 1974.
The first jazz record I bought was Bitches Brew by Miles Davis.