Bruce Barth is a reformed Californian, who started his study of (classical) piano at the age of five. An early move to New York introduced him to jazz. He studied at the New England Conservatory with the great pianists Jacki Bayard and Fred Hersch (JazzNights 5). He's played with many wonderful groups, notably Nat Adderley, Terrence Blanchard, and the Mingus Big Band, and made his early recordings with George Russell, among the most forward-looking of all jazz composers (Cubana Be, Cubana Bop, for example, just unbelievable for its time). If you saw Spike Lee's "Malcolm X" you saw and heard Mr. Barth. He's been back in New York since 1988, and active there and all over the world in solo, trio, and small group settings. He plays in all the best places, The Village Vanguard, The Kennedy Center, The Jazz Standard.... on and on.

"Pianist Barth digs deep to his true soul in the keyboard language....self-assured and full of ideas."

Downbeat

Vicente Archer is among the most active of today's young bassists, and one of the most eloquent new voices on his instrument. He works these days with the likes of Robert Glasper, Orrin Evans, Jeremy Pelt, Nicholas Payton, and the Mingus Big Band among many others. He studied at the New England Conservatory and Northeastern University with Gene Bertoncini and Danilo Perez. Very soon after graduation, he joined altoist Donald Harrison's group with whom he has often recorded. We are very fortunate to be able to hear him in this intimate context.

One of the signs of an excellent piano player is how he or she works with singers. Mr. Barth is exemplary in that regard, never upstaging, but always there helping, pulling his weight, and coming to the front when appropriate. Among others, he's worked with Carla Cook, Dominique Eade, Luciana Souza, Rene Marie (JazzNights 7) and Vanessa Rubin, and has just recorded with Karrin Allyson - quite a group! The instrumental company he keeps these days is also impressive. The brilliant young alto and soprano saxophonist, Steve Wilson is a frequent collaborator, for example. On his own, he is invariably thoughtful, inventive, and lyrical and always swinging like mad. Like many of today's best pianists - Mulgrew Miller (JazzNights 3 and 6) is one - it seems that his live work outshines the studio material. The four tracks he sent from a solo concert in Spain last year are just great, for example. One of them, Monk's "Ruby, My Dear," is posted on the JazzNights website, so you can hear for yourself. His most recent CD, "Live at the Village Vanguard" is as good an example of the piano trio at work as you will hear - it is just superb. On the other hand, I also like "American Landscape," which is a studio effort. Maybe I just like his recent work best! Either way, we can all hear him live and now, in the moment, October 21st. We hope to see you there.

"Bruce is a great musician, a force to be reckoned with. He can be very percussive and energetic or play with the subtleties of a Hank Jones or Herbie Hancock."

Terence Blanchard

Some CD recommendations:

Barth:

"Morning Call" ENJA 8084-2, with Steve Wilson (saxophones), Scott Wendtholt (tp), Larry Grenadier (b), Leon Parker (d)

"Don't Blame Me," Doubletime DTRCD-129, with Ed Howard (b), Billy Drummond (d)

"American Landscape," Satchmo Jazz, SJC 00040J, solo piano

"Live at the Village Vanguard," MAXJAZZ, MXJ 205, with Ugonna Okegwo (b), Al Foster (d)

Steve Wilson, "Passages" Stretch 9025, with Barth, Ed Howard (b), Adam Cruz (d), Nicholas Payton (Tp, Flh)

Archer:

George Colligan, "Past, Present, and Future," Criss Cross 1262 (highly recommended)

Jeremy Pelt, "Insight," Criss Cross 1228.

Donald Harrison, "Real Life Stories," Nagel-Heyer, 2022.

News: Robert Glaspar's Blue Note Album with drummer Damion Reid and bassist Vicente Archer will be released by Blue Note on October 4th.