Patricia Barber—Modern Cool [Impex Double 33RPM Vinyl Reissue 2025]

Patricia Barber's music is no secret to audiophiles or jazz lovers. The multi-talented Barber is a songwriter, composer, pianist, and jazz singer, whose second album, Cafe Blue (1994, Premonition), won accolades from the jazz press and within audio circles. Known for a unique blend of jazz, pop, and classical influences, her music is characterized by intricate songwriting, poetic lyrics, and a distinctive vocal style that seamlessly merges storytelling with musical sophistication. Barber’s extraordinary talents were recognized in 2003 when she won a Guggenheim Fellowship in music composition.

I first became aware of Barber through Cafe Blue and marvelled over its moody, intimate soundscapes, unusual arrangements, stellar musicianship, and top-notch sound. Barber’s introspective lyrics and fascinating vocal performances only added to the allure of this very special record. I truly believed it was “lightning in a bottle,” a record that couldn't be equalled or surpassed. I put Cafe Blue into my Records To Die For video series, which is the highest honour I bestow on records of musical and sonic excellence.

Well, we may have to make a place on that list for the follow-up effort, Modern Cool, which Impex Records has just reissued. To say I was impressed is an understatement.

The sessions were recorded and mixed digitally. Jim Anderson, who was responsible for the sound of Cafe Blue, was the recording engineer for this session as well. Mastering engineer Bernie Grundman worked from the digital mixdown master, which Impex felt was the best source available. There were analog tape copies of the digital master that were considered but ultimately rejected. This is one reason this title was not released as a “One Step” reissue. In a conversation with Impex owner Abey Fonn, she told me that she felt the “One Step” series should be strictly sourced from analog tape. She also felt the time was right to take a slightly different approach for this release, getting it out at a more affordable price, yet retaining the high-quality presentation and production values we've come to expect from Impex.

The pressing was carefully done at Fidelity Record Pressing, which is under the supervision of Rick Hashimoto, and utilizes their special VR 900 D2 vinyl formula, which, up to now, Impex had reserved for their “One Step” releases. The heavy-duty gatefold jacket and booklet were done at Stoughton Printing.

You might be thinking that since this was a digital recording, why wouldn't you just listen to it digitally? However, I think it's about time that notion be put to bed. When in the right hands, a meticulously produced vinyl edition of a digital recording can possess a magic that the digital formats can't quite touch. This reissue is absolutely in the right hands and has the magic in spades.

A new release from Impex is always a visual treat, and Modern Cool is no exception. The tactile delight of handling the jacket is impressive. The heavy, thick gatefold jacket is a beauty, with the iconic blaze of orange and black imagery elegantly set in a high gloss lustre surrounded by a matte black border. The impressive design continues inside the gatefold, with another striking image on the left and session photos on the right. Each photo on the interior is given the same high gloss sheen, positioned on a matte black background. From my background in printing, I can say this is a very expensive process. The surprises don't stop there, though. Art director Robert Sliger added another nice touch. The words "patricia barber'“and “modern cool” are hidden across both panels and are only visible in the right light. Somehow, he managed to get the type to be matte within the gloss sections of the artwork. Unbelievable creativity and attention to detail. The same effects are found in the sixteen-page lyric booklet.

When I spoke to Fonn, she was at Stoughton Printing, overseeing the printing of an upcoming reissue. Not one aspect of any Impex reissue escapes her perfectionist sensibility. These reissues are like her children and lovingly overseen from start to finish.

These are the types of things that you simply can't get from a digital file or CD booklet. It makes sitting down to listen to this edition of Modern Cool an event.

Twelve tracks appeared on the original CD release. The sequencing was redone for this two-disc release so that the timings balanced out perfectly.

I was able to access the original, single record release of Modern Cool (Premonition, 1998), which was produced under license by Music Direct. It was mastered by Greg Calbi at Masterdisk directly from the original analog master tape and pressed at RTI.

Photo credit: Paris Jazz Club

Due to the time limitations of a single LP, four of the original 12 tracks were eliminated. The tracks cut were “Company”, “She’s A Lady”, “Love Put On Your Faces”, and a reprise of “Let It Rain”, the latter two featuring The Choral Thunder Vocal Choir. I think that the sequencing and tracks chosen work well to present the music in a way that flows very well and sustains the mood, with enough variety to keep you captivated. The sound and pressing quality are both excellent.

Two notable editions not on hand were a 2LP, 33rpm Premonition Records release from 2014, mastered by Doug Sax and pressed at QRP, and a 3LP, 45rpm Mobile Fidelity Sound Lab set from 2005. Obtaining any of these earlier copies in NM condition averages around $200, and reaches toward $500 for the MFSL. The high prices these records go for make the $90.00 asking price of the Impex edition a bargain.

My initial impression of the record reminded me of being right in the studio. The noise floor is vanishingly low, as to be non-existent. The sense of space and depth is remarkable. Each track is like a huge sonic canvas. The instrumental separation is superb. Vocals have an immediacy and quiet intimacy that is startling. The bass weight is impressive, and the detail within Michael Arnopol's bass playing is intricate. Mark Walker's drums and percussion are perfectly captured, and John McLean's muted guitar solos are beautifully rendered. Dave Douglas' trumpet, when used, has proper tonality and bite, but no harsh edge. Barber's piano has wonderful clarity and dynamics when needed, lush and warm at other times. The whole record breathes with life and creates one of the most immersive and fascinating sonic landscapes I've ever heard. If you loved Cafe Blue, you'll be over the moon with the sound here. I think the compositions and songwriting surpass even the lofty standard set by Cafe Blue.

My favourite tracks are not surprisingly, the eight that were found on the original Premonition release. Of the tracks on this release, “Touch of Trash”, “Winter”, “Let It Rain”, “Silent Partner”, “Company”, and “Postmodern Blues” are all Barber originals and benefit greatly from Barber’s poetic lyricism and vocal delivery. Do take the time to read the lyric booklet. It will enhance your appreciation of this facet of Barber’s art. Her take on The Doors' hit “Light My Fire” and even Tom Jones's hit “She’s A Lady” are noteworthy. However, the standout among the cover versions is “You, The Night And The Music”. The spare, moody treatment completely transforms the song into a showcase for everything I love about this record. The instrumental “Constantinople” is also a highlight among many with a distinctly Spanish atmosphere created with trumpet, percussion, jangling guitars, and bowed bass, as well as an otherworldly wordless vocal from Barber. Special note must be made for the track “Company”, which features an inventive and complex drum solo by Mark Walker.

Comparisons to the single-disc Premonition release were interesting. That release is excellent, however, the new reissue ultimately surpassed it in clarity, transparency, intimacy, and overall balance. The immersion into the music and the feeling intention of each performance is unmatched. The perfection of the production is given its best light with Bernie Grundman’s tasteful mastering, and the ultra-silent pressing adds a level of intimacy that will have you returning to it often.

In conclusion, the Impex edition of Modern Cool is a work of art on so many levels. The pressing quality and luxurious presentation are exceptional. The sound quality is reference level. If any record could be considered a “record to die for,” this would be it.

Bravo to everyone on the team at Impex for producing what I feel may be the definitive edition of Modern Cool.

Available at Impex Records. [No financial affiliation]. Note: Press copies were provided to me and the publisher of Audiophilia. Look for a video presentation of the album at The Pressing Matters soon.