"Flip" sound to make to use the word jazz without ulterior adjectives and affixings: strongly its tie with the large ones of the trumpet that has characterized years Fifty and Sixty, to begin from Clifford Brown, Miles Davis, Kenny Dorham. But this characterization does not prevent it to be refiel element of all creative scene, in particular under the protecting wing del great leader and "spiritual father" William Parker.
Remarkable its participation in knows it of recording in those ` O' Neal' s Porch', job in quartet with Rob Brown to sax contralto and the Matthew Shipp to the piano: the extreme facility of the material of base on which it comes built up music - short topics , clear, melodies compared in together, than to times remembers those of the Jazz Messengers di Art Blakey - and the ability to explore of every potentiality thanks to continuous an inner movement, see in front line the trumpet of Barnes in supplying a decisive contribution to the resolution of a disc that has provoked the enthusiasm of the critic and the public.
Beyond to the collaboration with Parker, ours it can number presence in formations like the great ensemble Burnt Sugar, in the groups of the sax Jemeel Moondoc, of the guitar player Jean-Paul Bourelly, the singer Norah Jones and in most numerous other musical plans: without to forget the writing and the execution about sonorous columns.