Rolf Kuhn (cl) James Carter (ts) Ingfried Hoffman (org) Volker
Kriegel (g)
Johann Anton Rettenbacher (b) Stu Martin (d)
| Hamburg, 1969 | One way street |
| Josefin | |
| Fruhlingstraum | |
| Soul baby | |
| Kleiner Mann was nun | |
| Wir zwei | |
| Wie schon war' heut fur mich die Welt | |
| Ein Tag ohne dich | |
| Exclusive | |
| Blue Sunday | |
| Pour mes amis | |
| Soul for Inga | |
| It's the same old feeling - | |
| Heja |
* Rolf Kuhn Sextet Intercord (G)712-08U
| Detroit, April 11, 1986 | New spectrum too new spectrum | BTSN Records B-2001 |
| Kevin's beat know beat | ||
| Flute people | ||
| The creator | ||
| Disco 2000 | ||
|
Recording from young improvisers directed by Dr. Donald Washington, it
includes five pieces, two from D. Washington. The first recording for
firebrand saxophonist
James Carter also features Koli Givens (tpt) and Cassius Richmond
(fl/p). ~ Michael G. Nastos, All Music Guide |
* Bird Trane Sco Now/BTSN Records B-2001
James Carter (sop as ts contrabass-cl) A. Spencer Barefield
(g,12 string-g,African harp) Richard Davis (b)
Tani Tabbal (trap-d,tabas,perc)
string quartet on (1) only : Regina Carter, Tim Edwards
(vln) Marlene Rice (viola) Tim Holley (cello)
| Michigan, February 12, 1990 | Jumonji (jc out) | Xenogenesis CD002 [CD] |
| A handful of fives | ||
| Ugly beauty - | ||
| Barbara thru the mirror world | ||
| Xenogenesis 2000 | ||
| I Meiosis union | ||
| II. Metamorphosis - | ||
| III. Protoplast - | ||
| Invisible mysterious [Black indians] (jc out) |
* Xenogenesis CD002 [CD]
Walter Blanding, Jr., James Carter (ts)Herb Harris (ts) Marcus
Roberts (p) Reginald Veal (b)
Ben Riley (d)Todd Williams Tim Warfield
| Alone together: | New York, January 8-10, 1991 | |
| Jim Dog | ||
| Alone together | ||
| Chelsea bridge | ||
| The eternal triangle |
*Tough Young Tenors Antilles 422-848767-2 [CD]
Lester Bowie's New York Organ Ensemble : Lester Bowie (tp,
Steve Turre (tb) James Carter (ts)
Amina Claudine Myers (org,vcl) Famoudou Don
Moye (d,perc-2) Phillip Wilson (d-1) replacing
Moye,
| Sonala Nobala | DIW (Jap)821E [CD] | |
| Angel eyes (1) | Systems Two Studios Brooklyn, NY, January 14-16, 1991 | |
| The burglar | ||
| Guten morgen part II (1,2) | ||
| Ready Joe | ||
| Brooklyn works suite(1,2) | ||
| Flatbush Avenue | ||
| Organic echoes | ||
| Bell bottoms | ||
| Organic intellectual | ||
| Funky T | DIW (Jap)853E [CD] | |
| What's new | ||
| When the spirit returns | ||
| Cool T | ||
| Afternoon in Brooklyn |
* The Organizer / Lester Bowie's New York Organ Ensemble
DIW (Jap)821E [CD]
* F T. Cool T./ Lester Bowie's New York Organ Ensemble DIW
(Jap)853E [CD]
Carlos Ward-asx, fJames Carter-tsx, bsx, bass saxophone Frank
Lowe-tsx, ssx
Michael Marcus-ssx, stritch, bsx, bass saxophone
Philip Wilson-d
| War of the Worlds | ITM Pacific 970062 | |
| Four Five + Six | NYC April1991 | |
| Sandra's Dilemma | ||
| Inappropriate Choices | ||
| Melody for Melonae | ||
| Loweology | ||
| El Haz Malik Shabazz | ||
| Fuchsia Norval |
* Inappropriate Choices ITM Pacific 970062
Julius Hemphill (as), Marty Ehrlich (sop,as,f) Carl Grubbs
(sop,as) James Carter (ts: solo-1Track)
Andrew White (ts) Sam Furnace (bar,f),
| Otis' groove - | Black Saint (It)120115-2 [CD] | |
| Lenny | Sear Sound , NYC , July 15/16 ,1991 | |
| Floppy | ||
| Opening | ||
| Headlines | ||
| Four saints | ||
| Fat man | ||
| Glide | ||
| Tendrils | ||
| Anchorman | ||
| Untitled | ||
| Three-step | ||
| The answer | ||
| The hard blues |
* The Fat Man And The Hard Blues
Black Saint 120 115
The Clarinet Ensemble and Sextet: Wendell Harrison, Paul
Onachuk, Vincent York-cl Mark Berger-bcl
James Carter-cbclAlbert Duncan-tbn Ron English-Jaribu Shahid-b Danny Spencer-d
The Big Band: Wendell Harrison-cl [arr 2-3, 5-6]Vincent York-asx
Ernie Rogers, George Benson-tsx James Carter-bsx
Marcus Belgrave, Rayse Biggs, John Trudell, Dwight Adams-tpt Albert Duncan,
Vincent Chandler, Jimmy Wilkins-tbn
Brad Felt-tu Ron English-g Jaribu Shahid-b Danny Spencer-d
Andrew Daniels-perc
Eddie Nucilli-cond [arr 1]Cassius Richmond-arr (4, 7)
same personnel
| February 1992 Museum of African History Detroit, MI | Tomorrow | |
| Ring man | ||
| Spank | ||
| Hallucinations | ||
| Reawakening | ||
| Sophisticated lady | ||
| Winter | ||
| This 1992 performance in Detroit's Museum of African-American history includes a big band and Clarinet Ensemble. Unique music, mostly modern, with three standards. — Michael G. Nastos | ||
* Wendell Harrison: Live In Concert WenHa 190
James Carter(as, ts, bs) Craig Taborn(p) Jaribu Shahid(b) Tani Tabbal(ds)
| April 14-15, 1993 Sound on Sound NYC | JC on the Set | Sony CK 66149 |
| Baby Girl Blues | ||
| Worried and Blue | ||
| Blues for a Nomadic Princess | ||
| Caravan | ||
| Hour of Parting [ | ||
| Lunatic | ||
| Sophisticated Lady | ||
|
Twenty-five at the time of this CD, James Carter had already absorbed much
of the tradition. His debut as a leader includes compositions by the classic tenors Don Byas and John Hardee, Duke Ellington's "Sophisticated Lady" and even a Sun Ra ballad. He also shows that he has the courage to play completely outside whenever it seems logical to him; in fact on the title cut Carter moves from Gene Ammons and Illinois Jacquet to outbursts a la David Murray in the stratosphere. But most importantly, at this early stage James Carter already had his own sound. He switches between the tenor (his main ax) to alto and baritone, shows self-restraint on the ballads and fills his improvisations with continual surprises. Joined by the supportive pianist Craig Taborn, bassist Jaribu Shahid and drummer Tani Tabbal, James Carter puts on quite a tour-de-force throughout this very impressive set. — Scott Yanow |
||
* JC On The Set /James Carter/Sony
CK 66149
Tim Berne(as) Marty Ehrlich, Sam Furnace(ss, as) James Carter, Andrew White(ts) Fred Ho(bs)
| November 18-19, 1993 Sear Sound NYC | Band Theme | Black Saint 120 140 |
| Mr. Critical "for Ornette" | ||
| Shorty | ||
| Mirrors | ||
| Five Chord Stud | ||
| The Moat and the Bridge | ||
| Georgia Blue | ||
| Flush | ||
| Spiritual Chairs "for Bill T. Jones | ||
|
Although altoist Julius Hemphill gets top billing on this CD, his heart
surgery in 1993 forced him to stop playing. However, this saxophone sextet was his regular group; he contributed six of the eight compositions (the other two are free improvisations) and the chancetaking heard throughout this adventurous music definitely makes most of the performances sound like they came from a Julius Hemphill recording even if his alto is missed. The sextet has a very strong lineup (altoists Tim Berne, Marty Ehrlich and Sam Furnace, tenors James Carter and Andrew White and baritonist Fred Ho) and the resulting CD contains more than its share of variety. The music ranges from the soulful "Spiritual Chairs" and a boppish "Band Theme" to introspective ballads and wild passionate interplay. Other than Fred Ho (who is not heard from enough), each of the players has their chance to star. The generally fascinating music rewards repeated listenings but one has to have an open mind before putting it on. — Scott Yanow |
||
* Five Chord Stud / Black Saint 120 140
Jayne Cortez-voc Frank Lowe-tsx (1-4, 6) James Carter-bsx Bern
Nix-g (1-4) Al MacDowell-b (1-4, 6)
Denardo Coleman-d, programming (1-4, 6)
[Carter does not appear on other tracks from this release]
| Samba is Power | Recorded February 22, 1994 and March 14, 1994 Recorded at Polarity, New York City | |
| She Got He Got | ||
| Find Your Own Voice | ||
| I'm Gonna Shake | ||
| I Got the Blues | ||
| Cheerful Optimistic | ||
* Cheerful & Optimistic
James Carter(ss, as, ts) Craig Taborn(p) Jaribu Shahid(b) Tani Tabbal(ds)
| Take the "A" Train | Sony CK 67058 | |
| Out of Nowhere | April 16-17, 1994 Power Station NYC | |
| Epistrophy | ||
| Ask Me Now | ||
| Equinox | ||
| Sandu | ||
| Oleo | ||
| The
young but already great saxophonist James Carter explores seven jazz standards with pianist Craig Taborn (himself a young master capable of playing in several styles), bassist Jaribu Shahid, and drummer Tani Tabbal. Among the most versatile and knowledgeable of today's saxophonists, Carter draws on many top stylists during these lengthy solos, yet always sounds quite individual. His violent depiction of a train whistle on "Take the 'A' Train" perfectly launches that romp, and he also really stretches out on "Epistrophy," plays the blues on John Coltrane's "Equinox," and shows quite a bit of fire on "Oleo." A very stimulating session. — Scott Yanow |
||
* Jurassic Classics / James Carter/Sony CK 67058
James Carter(ts, as, bs, bcl, b-fl) Craig Taborn(p) Dave
Holland(b) Jaribu Shahid (b) Leon Parker(ds)
Tani Tabbal(ds)same personnel
| Round Midnight | Atlantic Jazz 82742 | |
| You Never Told Me That You Care | October 6, 7, November 20, 1994 Power Station NYC | |
| The Intimacy of My Woman's Beautiful Eyes | ||
| 1944 Stomp | ||
| The Stevedore's Serenade | ||
| Born to be Blue | ||
| Deep Throat Blues | ||
| A Ballad for Doll | ||
| Eventide | ||
|
Despite this CD's title and a slight emphasis on ballads, this is not an easy-listening record. James Carter, one of the great new discoveries of the 1990s (and whose versatility, brilliance on a variety of reed instruments and seeming encyclopedic knowledge of jazz styles makes him a possible successor to Rahsaan Roland Kirk) is heard playing tenor, alto, soprano, baritone, bass clarinet and bass flute on the nine selections with the impressive pianist Craig Taborn, either Dave Holland or Jaribu Shahid on bass and Leon Parker or Tani Tabbal on drums. Although some of the ballad statements (such as his statements on baritone on "'Round Midnight" and "Eventide") are fairly straightforward, Carter also has some explosive moments. His rendition (on soprano) of Don Byas's "1944 Stomp" is memorable as is his interpretations of "Born to Be Blue" and two originals. The results are a bit restrained compared to his live performances, but this is an enjoyable and unpredictable outing, music that will not be played on the "Quiet Storm." — Scott Yanow |
||
* The Real Quietstorm / James Carter/ Atlantic Jazz 82742
Wendell Harrison (cl,ts,clave) James Carter (cb-cl) Ernie
Rogers (cb-cl) Harold Orr (b-cl) Greg Koltyck (cl)
Paul Onachuck (cl) Ken
Hobenstreet (cl) Harold McKinney (p) Pamela Wise (p) Marion Hayden (b)
Alex
Brooks (ds) Enix Buchanan (ds) Jerry Gonzalez (timbl) Mahindi Masai (perc)
| Rush & Hustle | ENJA ENJ-9342 2 | |
| My Shining Hour | Rebirth Studios, Detroit, October & November 1994 | |
| The Hooptie | ||
| Pamela's Holiday | ||
| Gonna Take You Out | ||
| Urban Lullaby [ | ||
| Saga of a Carrot | ||
| This
original Wen-Ha recording, independently released by Harrison, is now on a major label. At last the world at large can hear this richly textured ensemble which incorporates swinging syncopation or latin rhythms as the foundation for five clarinetists (Ernie Rodgers, Harold Orr, Greg Koltyck, Paul Onachuck and Ken Hobenstreet) to weave their orchestral tapestry while soloists Harrison and the vaunted James Carter (on the monstrous contrbass clarinet) do their thing. Some pretty stunning music is being made here by any criteria. At its deepest recesses and most thoughtful space, the ensemble on "Pamela's Holiday" with help from percussionist Mahindi Masai, doles out a modal undercurrent grafted onto a light Afro-Cuban rhythm, and produces some extraordinarily beautiful sounds. The title track swings with a fervor Bechet, Goodman or DeFranco would stop and take notice at. "Gonna Take You Out" is a jumpy kind of funk, while a nice latin flavor spices the lone standard "My Shining Hour" arranged by Cassius Richmond. The most modern piece "The Hooptie" shifts from brooding to optimistic with an ostinato bass, soaring melody, a bit dank, but always head nodding, even in the tricky 5/4 time signature. A most spiritual "Urban Lullabye" also sports a light tropical scent, and the closer, a tenor sax driven "Saga Of A Carrot" is a hard samba stew that has a heavy, meat and potatoes melody and some avant free segments. Sounds this strong and full cannot be denied their place as a unique unto itself entity amongst modern jazz ensembles. Harrison's imaginative music and arrangements, with help from fellow Detroiters as pianist Pamela Wise and bassist Marion Hayden in particular and the incendiary Carter for added heat, establishes a tradition of its own. Others will simply have to follow to see if they can go one up. — Michael G. Nastos |
||
* Rush & Hustle / Wendell Harrison/ ENJA ENJ-9342 2 Wen-Ha230
Ronald Shannon Jackson(ds, perc, fl, boschhorn) Jef Lee Johnson(g) James Carter(ss,ts) Ngolle Pokossi(b)
| 1994 Poland | Christmas Woman | Knitting Factory 3035 |
| Front Seat Frisco | ||
| Night in Seville | ||
| Cameroon Morning | ||
| Seranade of Musician | ||
| Opinions | ||
| Now's the Time | ||
| Christmas Woman | ||
|
There is no questioning Ronald Shannon Jackson's abilities as
a drummer and composer, although his actual albums have tended to be somewhat erratic and inconsistent. Such is the case with Live in Warsaw, a 1994 recording with James Carter on saxophones, Jef Lee Johnson on electric guitar, and Ngolle Pokossi on electric bass, although the album still has its merits. The problem lies mostly with the excess of nebulous fade-ins and inconclusive fade-outs, one or the other of which occurs on nearly every track. The actual sound quality is good for a live recording, and the performances are often inspired. "Night in Seville," which features a long coda for Johnson's flamenco-tinged guitar, does meander a bit, but the R&B-flavored opener, "Christmas Woman," and the joyous, Bo Diddley-evoking "Camaroon Wedding" are infectious. Unfortunately, the rug gets pulled out from under each of the latter tunes by the aforementioned fades, and these tracks are surrounded by some not-as-strong pieces that just don't seem to go anywhere (see the murky disco-jazz of "Opinion's" [sic]). Not until the swinging avant-blues take on Charlie Parker's "Now's the Time" and the foot-stomping reprise of "Christmas Woman" does the band really get cooking. These tracks, and Carter's honking, blues-drenched solos in particular, are likely to have listeners calling for an encore and wishing the rest of the album had been on such a high level. — William York |
||
* Live In Warsaw/Ronald Shannon Jackson And The Decoding Society Knitting Factory 3035
Ronald Shannon Jackson(ds, perc, fl, boschhorn)
Jef Lee Johnson(g) James Carter(ss,ts)
Ngolle Pokossi(b) Martin Atangana(g)
| What Spirit Say | December 11-12, 1994 at the Power Station, New York City | |
| Opinions | ||
| Terminal B | ||
| Cameroon Morning | ||
| Aged Pain | ||
| Sorcerer's
Kitchen [3:22] a. Abed Nego b. Ode to Hieronymus c. Horus March |
||
| Serenade for Magicians | ||
| A Night in Seville | ||
| Front Seat Frisco | ||
| Now's the time | ||
| Missing Link |
* What Spirit Say/Ronald Shannon Jackson And The Decoding Society
James Carter-tsx, ssx, bcl Cyrus Chestnut-p
| The Stevedore' s Serenade | Atlantic (promotional) PRCD 6250 | |
| Sentimentalia | March 14,1995 NYC | |
| A Rare Gem | ||
| The Intimacy of My Woman's Beautiful Eyes | ||
| Call Me Later | ||
| Deep Throat Blues | ||
*Duets Atlantic (promotional) PRCD 6250 (Never Released)
Olu Dara(cor) Nicholas Payton(tp) James Zollar(tp) Don
Byron(cl,b-cl) Jesse Davis (as) David Newman(as)
James
Carter(ts,bs-8tracks) Craig Handy(ts) Joshua Redman(ts) David Murray(ts)
Clark Gayton(tb) Curtis Fowlkes(tb)
Russell Malone(g) Mark Whitfield(g) Geri
Allen(p) Cyrus Chestnut(p)
Ron Carter(b) Christian McBride (b) Tyrone Clark(b)
Victor Lewis(ds) Kevin Mahogany(vo) Butch Morris(cond)
| May 11-22, 1995 "Hey Hey Club"Kansas City, MO | Blues in the Dark | Verve 314 529 554 |
| Moten Swing | ||
| I Surrender Dear | ||
| Queer Notions | ||
| Lullaby of the Leaves | ||
| I Left My Baby | ||
| Yeah Man | ||
| Froggy Bottom | ||
| Pagin' the Devil | ||
| Lafayette | ||
| Solitude (reprise) | ||
| St. Louis Blues |
Verve 537 322 |
|
| Cherokee | ||
| Indiana | ||
| Harvard Blues | ||
| Prince of Wails | ||
| Froggy Bottom | ||
| Piano Boogie | ||
| King Porter Stomp | ||
| Tickle Toe | ||
| Indiana |
*Kansas City (soundtrack)Verve 314
529 554
*KC After Dark / Kansas City Band
Verve 537 322
James Carter (as ts bar) Cassius Richmond (as) Frank Lowe,
Bobby LaVell (ts) Alex Harding (bar)
Michael Marcus (manzello,bassax) Cindy
Blackman (d)
| Sound on Sound NYC May 12, 13 & 21, 1995 | Hard times | Qwest/Warner Bros. 9-46181-2 |
| Freedom jazz dance | ||
| Rhythm-a-ning | ||
| War of the worlds | ||
| Monk's mood | ||
| In walked J.C. | ||
| Honkin' fats | ||
| Lowe down & blue | ||
| Tribute | ||
| Ghosts | ||
| This
very interesting release features a saxophone sextet (Frank Lowe on tenor, Michael Marcus doubling on manzello and bass sax, altoist Cassius Richmond, baritonist Alex Harding, Bobby LaVell on tenor, and most notably James Carter on alto, tenor and baritone) plus drummer Cindy Blackman; there is no need for piano, guitar or bass. The personnel changes on most selections, and the full group only appears on the last two songs, but all of the musicians have plenty of space in which to react to each other. The repertoire is quite inspired, mixing originals with "Hard Times" (made famous by David "Fathead" Newman in the late 1950s), Albert Ayler's "Ghosts," "Monk's Mood," and a medley of "Freedom Jazz Dance" and "Rhythm-A-Ning." The music could be called souful free jazz, for the musicians show plenty of emotion in their improvising (particularly the amazing Carter) yet are not shy of playing melodically when inspired. The use of baritone and bass sax makes the absence of a rhythm section (outside of Blackman's drums) barely noticeable. Well worth exploring and listening to several times. — Scott Yanow |
||
* Saxemble
Qwest 46181
Nicholas Payton, Wallace Roney (tp) Cassius Richmond ( James
Carter (ts) Alex Harding (bar)
Cyrus Chestnut, Geri Allen (p) Rodney Whitaker
(b) Karriem Riggins, Gregory Hutchinson (d)
Andrew Daniels II (perc)
| Power Station New York, September 13 & 14, 1995 | Children of the Light | DIW (Jap)DIW-907 [CD] |
| Mandela's muse | ||
| Broadway | ||
| One silent moment | ||
| On Green Dolphin Street | ||
| Woman child | ||
| Mood swings | ||
| Queen Roz | ||
| Children of the light - | ||
| El morro | ||
| Cultural warrior | ||
|
For his debut as leader, Whitaker takes center stage on
several melodies and solos frequently. His playing is well-rounded in every respect, and he has a supple, sleek, strong tone. His core group for this outing consists of James Carter (tenor sax), Cassius Richmond (flute), Wallace Roney and Nicholas Payton (trumpet), Cyrus Chestnut (piano), Karriem Riggins and Gregory Hutchinson (drums), and Andrew Daniels (percussion); pianist Geri Allen and baritone saxophonist Alex Harding make cameo appearances. Three of the 11 tracks were penned by Whitaker — the bass/percussion workout "Woman Child," the jungly "(Queen) Roz," and the crackling "Langman." Ken Cox's triumphant melody for Nelson Mandela, "Mandela's Mood," is a highlight, featuring bright melodies and Afro-Cuban underpinnings. Everyone solos on this piece, but it's Carter's histrionics that really provide the exclamation point. There are two hard boppers — a version of "Broadway" featuring a path-clearing solo by Carter, and Richmond's "Mood Swings," which finds Carter and Roney acting like Wayne Shorter and Miles Davis. The title track features Payton's plaintive head statement and Chestnut's fervid solo. Whitaker's wife, Monzola, contributes the soft "One Silent Moment," while Roney lights things up for "On Dolphin Street." Allen waxes poetic beneath a bed of exotic, subtle rhythms on "El Morro," and the finale, "Cultural Warrior," is languid and solemn. Whitaker shows a grand diversity on this complete package of modern jazz. Highly recommended. — Michael G. Nastos |
||
* Children of the Light DIW (Jap)DIW-907 [CD]
Kathleen Battle:
September 1995
Tom Harrell-flg Grover Washington, Jr.-ssx (2) Antonio Hart-asx James Carter-bcl
(8)
Marlon Graves-g, perc Romero Lubambo-g Cyrus Chestnut-p (10) Ira Coleman-b
Christian McBride-b Cyro Baptista-perc Steve Berrios-perc Kathleen Battle-voc
| Going Home | Sony 68473 |
So Many Stars Sony 68473
Madeleine Peyroux (vo, g) Marcus Printup (tp) Regina Carter
(vl)
James Carter (ts, b-cl : 3tracks) Marc Ribot (g, bjo) Vernon Reid, Larry
Saltzman (g) Cyrus Chestnut (p)
Charlie Giordano (key) Greg Cohen (b, mar) Steve
Kirby (b) Kenny Wollison (ds, perc) Leon Parker (ds)
| RPM Studios,NYC and Kampo Studios,NYC, Prov 1995 |
Dreamland |
Atlantic 82946-2 [CD] |
| Walkin' after midnight | - | |
| I'm gonna sit right down and write myself a letter | - | |
| Muddy water | ||
|
Madeleine Peyroux made a bit of a stir in 1996 due to her
voice sounding remarkably close at times to Billie Holiday. This wide-ranging set features Peyroux singing swing standards, originals and tunes that hint at country and folk music. Her supporting cast, which changes on each selection, includes a restrained James Carter on tenor and bass clarinet, Marc Ribot on dobro and guitar, trumpeter Marcus Printup, pianist Cyrus Chestnut and violinist Regina Carter, among others. A very interesting release which, despite the derivative nature of Peyroux's voice, is full of surprises. Highlights include "Walkin' After Midnight," "I'm Gonna Sit Right Down and Write Myself a Letter," "La Vie En Rose" and "Muddy Water." — Scott Yanow |
||
* Dreamland / Madeleine Peyroux Atlantic 82916 (1996)
Lester Bowie(tp) Harry "Sweets" Edison(tp) Larry Smith(as)
Buddy Tate(cl, ts)
James Carter(as, ts, bs, bcl) Hamiet Bluiett(bs) Craig
Taborn(p) Jaribu Shihad(b) Tani Tabbal(ds)same personnel
| October 2, 1995 (1, 9)January 30, 1996 (3, 5-6, 8)February 5, 1996 (2, 4, 7)Power Station NYC | FreeReggaeHiBop | Atlantic Jazz 82908 |
| Parker's Mood | ||
| Lester Leaps In | ||
| Naima | ||
| Blue Creek | ||
| Centerpiece | ||
| Composition #40Q | ||
| Moten Swing | ||
| Atitled Valse | ||
| The
brilliant saxophonist James Carter and his quartet (which also includes pianist Craig Taborn, bassist Jaribu Shahid and drummer Tani Tabbal) welcome some of Carter's musical heroes as guests throughout this CD. Carter matches wits with the eccentric trumpeter Lester Bowie on "Freereggaehibop" and the often-hilarious "Atitled Valse"; he also features the legendary (but rarely recorded) Detroit altoist Larry Smith on "Parker's Mood," showcases Count Basie veterans Harry "Sweets" Edison and Buddy Tate on two swing standards apiece (Tate's work on clarinet during "Blue Creek" is memorable), and interacts with baritonist Hamiet Bluiett on "Naima" and an Anthony Braxton march. Switching between tenor, alto, baritone and bass clarinet, Carter makes each of his guests feel at home while pushing them to stretch themselves. A consistently colorful and generally swing-oriented set. — Scott Yanow |
||
* Conversation' With The Elders / James Carter Atlantic Jazz 82908
Benny Golson, Branford Marsalis, James Carter, Harold
Ashby(ts) Geoff Keezer(p)
Dwayne Burno(b) Joe Farnsworth(ds)
| New York , January 29/30 , 1996 | Lester Leaps In | |
| Body and Soul | ||
| St. Thomas | ||
| Cry Me a River | ||
| My Favorite Things | ||
| Whisper Not | ||
| Girl From Ipanema | ||
| My Old Flame | ||
| Lover, Come Back to Me | ||
| In Memory Of (Golson) | ||
| On this enjoyable set, veteran tenor saxophonist Benny Golson pays tribute to nine other tenors: Lester Young, Coleman Hawkins, Sonny Rollins, Dexter Gordon, John Coltrane, Stan Getz, Zoot Sims, Ben Webster, and Don Byas. On "Body & Soul," Branford Marsalis joins Golson, three songs have James Carter making the quartet a two-tenor quintet, Harold Ashby is on four others, "Lester Leaps In" has Golson interacting with both Carter and Ashby, and Golson is the only tenor on the closing "In Memory Of." While each of the saxophonists is in fine form, Carter's fiery style is a perfect contrast to Golson's cooler but explorative playing. With pianist Geoff Keezer, bassist Dwayne Burno, and drummer Joe Farnsworth swinging the tunes (all but "In Memory Of" are standards), Golson sounds quite inspired by the settings. This is one of his strongest all-round sessions of the 1990s. — Scott Yanow | ||
* Tenor Legacy / Benny Golson Tenor Summit
Dwight Adams(tp) Marcus Belgrave(tp) Ron Blake(ss,ts) James
Carter (ss,ts-5tracks)
Gerald Cleaver(ds) Gregory Hutchinson(ds) Mark Hynes (ss)
Peter Martin(p) Cassius Richmond(as,fl)
Karriem Riggins(ds) Rick Roe(p) Rodney
Whitaker(b)
| New York, September 16 & October 2, 1996 | Childhood (1,3) | DIW (Jap)DIW-929 [CD] |
| Blues in the closet (2,3,4,7) | ||
| Repentance (2,4,6) | ||
| Mastery through love (2,3,4,5,7) | ||
| Pilgrim progress (1,3) | ||
| First impressions (2,3,4,7) | ||
| The child in the womb (1) | ||
| Hidden kingdom (1,3) | ||
| Open hit [D.W.] (4,6) | ||
| The promise of you (lk vcl,1,3) | ||
| On
his second CD as a leader, Rodney Whittaker is joined by a rotating cast of Detroit's best jazz players and other guests for a program of original compositions by the group's members and one jazz classic, with Whittaker's big-toned bass anchoring the proceedings. Sax superstar James Carter guest stars on five of the ten selections, with his swing-based tone and cutting edge tendencies, although he is more restrained here than on his own recordings. Favorites include Whittaker's "Childhood," a multi-tempo composition that features an excellent alto sax solo by Cassius Richmond and an exciting trumpet-tenor duel between Dwight Adams and Ron Blake; a joyous romp on Oscar Pettiford's "Blues in the Closet"; Richmond's multi-themed and multi-tempo "First Impressions"; and Whittaker's lovely ballad "The Child in the Womb." Whittaker's bass playing and composing establish him as one to watch in the future. — Greg Turner |
||
* Hidden Kingdom /Rodney Whitaker DIW (Jap)DIW-929 [CD]
Billy Bang-vln (9)Hugh Ragin-tpt (2, 5-6)James Carter-C melody
saxophone (1), tsx (3)
David Murray-tsx (10)Hamiet Bluiett-bsx (8)
D.D. Jackson-pSanti DeBriano-b (4) November 30, December 1-2, 1996 Sound on
Sound NYC
| Sound on Sound Studio, NYC,November 30,December 1/2 , 1996 | Rythmn And Things | Justin Time 99 |
| Ballad for Miles [Hugh Ragin] | ||
| Reflections | ||
| Chick-isms | ||
| Fanfare and Fiesta [Hugh Ragin] | ||
| Subliminal Messages | ||
| African Dreams | ||
| For Don | ||
| Bang's Dream | ||
| Easy | ||
|
During a three-day period, pianist D.D. Jackson recorded a series of duets
with some of his favorite musicians; the results are two colorful and
diverse CDs that are full of variety, adventure, and a bit of humor. Vol. 1
features the percussive Jackson in collaborations with tenor and C-melody
saxophonist James Carter (who borders on the hilarious during "Rhythm and
Things"), the talented if underrated trumpeter Hugh Ragin, bassist Santi
Debriano, baritonist Hamiet Bluiett, violinist Billy Bang, and tenor
saxophonist David Murray. All of the ten selections (except for two by the
trumpeter) are Jackson originals. Although the second CD is also well worth
getting, the first disc gets the edge due to the particularly fine playing
of Carter and Ragin. An intriguing set that grows in interest with each
listening. — Scott Yanow |
||
* Paired Down Vol. 1 D.D. Jackson-Justin Time 99
Hamiet Bluiett(bs) Ronnie Burrage(ds) James Carter(bs) Alex Harding(bs) Patience Higgins(bs)
| The Knitting Factory,June 1997 | Opening Statement | Knitting Factory 217 |
| Settagast | ||
| A's Song | ||
| K.M.A. /Q.B | ||
| Pit Stop | ||
| Discussion Amongst Friends | ||
| Low Down Blues | ||
| Blunita | ||
| Revival | ||
| Neck Bones | ||
| J.B.'s Groove | ||
| JFour
baritone saxophones supported by the smart drumming of Ronnie Burrage on this recording. The baritone saxophone range is wonderful for experimentation. The instrument can clearly reach the sonorous tones and up in to a near-piercing range. The saxophones come at the listener singly or in groups, making free-jazz statements. A melodic phrase can easily give way to a rhythmic squawking before diving back into a spontaneous theme. Leading the Bluiett Baritone Saxophone Group is World Saxophone Quartet leader Hamiet Bluiett. (The other horn players are James Carter, Alex Harding and Patience Higgins.) He takes his mid- to low-range group through an intelligent contention, an energetic debate on the substance of each of the 11 tracks. For the variety contained herein, compare the sad yearning in "A's Song" with the funk scat on "K.M.A./Q.B." and cacophonous conversation in "Neck Bones." — Thomas Schulte |
||
* Live At The Knitting Factory/Knitting
Factory 217
same personnel
| Montreal International Jazz Festival 1997 | Libation for a Baritone Saxophone Nation | |
| Discussion Among Friends | ||
| MPR-1 | ||
| Revival | ||
| Settegast Strut | ||
| Underwater Birth | ||
| J.B. Groove | ||
| Kma-QB | ||
| This unusual four-sax combo honks to high heaven on this live disc. But only horn fans of the deepest hue need apply. The squonk and bratt of horn syncopations like "Discussion Among Friends" are a bit grating after a time. — Tim Sheridan | ||
* Libation For The Baritone Saxophone Nation/Justin Time 8470-2
Cyrus Chestnut(p) Ron Carter(b) Lewis Nash(ds) Anita Baker(vo)
Billy Higgins(ds) Joe Lovano(ts)
James Carter(ts-3tracks)
| Sept 15 1998 | Miss Thing performed by Chestnut / James Carter | |
| Summertime performed by Chestnut / Anita Baker | ||
| The Journey performed by Chestnut / James Carter | ||
| Elegant Flower | ||
| Nutman's Invention #2 | ||
| My Favorite Things | ||
| Any Way You Can performed by Chestnut / Joe Lovano - | ||
| Mother's Blues | ||
| Great Is Thy Faithfulness | ||
| Strolling in Central Park | ||
| Sharp performed by Chestnut / James Carter / Joe Lovano | ||
| Joined by several important guests, Cyrus Chestnut proves once again that he is among the brightest, post-bop players of his generation. For this effort, his base trio includes legends Ron Carter on bass and Billy Higgins on drums. Joining them are all-stars Lewis Nash (drums on two tracks), James Carter (alto on three tracks), Joe Lovano (tenor sax on two tracks), and two significant appearances by vocalist Anita Baker. This album is very good as well as very solid, with no tracks that clearly stand above the rest. Nash and Baker appear together on the album's only two standards: the slow, sexy "Summertime" and the bright, scat-filled "My Favorite Things." Carter's virtuoistic brilliance dominates "Miss Thing" and "The Journey." Lovano contributes his unique intensity to "Any Way You Can" and joins Carter for the impressive two-horned workout, "Sharp." As for the leader, he continues to demonstrate the rare ability to generate soul from the percussive piano. Though his versatility and technical facility is plainly evident, it is this emotional gift which sets him apart. He can play loud and fast; he has developed a lighter, more delicate touch on the ballads; he imparts elements of both blues and gospel in his sound; and he writes his own music. Cyrus Chestnut is recommended - the album and the musician. — Brian Bartolini | ||
* Cyrus Chestnut-Atlantic 83140
James Carter(ts, ss, bs, bcl) Cassius Richmond (as) Dwight
Adams (tp) Kevin Carter (g)
Craig Taborn(org) Henry Butler(org) Cyrus
Chestnut(org) Jaribu Shahid(b,el-b) Steve Kirby(b)
Tani Tabbal(ds) Leonard
King(ds) Alvester Garnett(ds)
| 1998 Avatar Studios NYC | Lianmo | Atlantic Jazz 83082 |
| Down to the River | ||
| Don's Idea | ||
| Skull Grabbin' | ||
| Odyssey | ||
| Trouble in the Wind | ||
| Escape from Bizarro World | ||
| Frisco Follies | ||
| Lockjaw's Lament | ||
| In Carterian Fashion | ||
| ames
Carter is the Arturo Sandoval of the reeds, a remarkable virtuoso who can seemingly do anything he wants on his horns. It is just a matter of time passing and the accomplishments accumulating before Carter is thought of as one of the all-time greats. This particular CD differs from his earlier ones in that Carter (who switches between tenor, soprano, baritone sax and bass clarinet) is joined by one of three organists (Henry Butler, Cyrus Chestnut and his regular pianist Craig Taborn) instead of piano, which of course changes the sound of the ensembles. However, only a few of the songs come across as Jimmy Smith-style soul-jazz. Carter stretches from bluesy tunes to Don Byas' swinging mid-'40s romp "Don's Idea," and some avant-garde explorations, and a few strong hints at Rahsaan Roland Kirk (particularly on the soprano feature "Trouble in the World") and Eddie "Lockjaw" Davis. Trumpeter Dwight Adams sounds fine during his four appearances, particularly when trading off with Carter on "Don's Idea," and altoist Cassius Richmond (who is on three of the trumpet pieces) is also excellent. However, the dominant voice throughout is James Carter, who in general is a little more restrained, which makes his fiery explosions and colorful tonal distortions really stand out. Recommended. — Scott Yanow |
||
*In Carterian Fashion / James Carter/Atlantic Jazz 83082
Herbie Hancock(p,org) Cheik Mbaye (perc) Eddie Henderson (tp)
Kenny Garrett (as)
James Carter(ts,ss-2tracks) Ira Coleman (b) Terri Lyne
Carrington (ds) Joni Mitchell (vo)
Wayne Shorter(ts,ss) Marlon Graves(g,perc)
Cyro Baptista (perc) Stevie Wonder(vo,harmoni) Charles Curtis (cello)
| NYC , April , 1998 Los Angels , June , 1998 |
Overture (Fascinating Rhythm) | |
| It Ain't Necessarily So | ||
| The Man I Love | ||
| Here Come de Honey Man | ||
| St. Louis Blues | ||
| Lullaby | ||
| Blueberry Rhyme | ||
| It Ain't Necessarily So (Interlude) | ||
| Cotton Tail | ||
| Summertime | ||
| My Man's Gone Now | ||
| Prelude in C Sharp Minor | ||
| Concerto For Piano And Orchestra In G, 2nd (Ravel) | ||
| Embraceable You | ||
*Gershwin's World / Herbie Hancock/Verve 557797
James Carter (bs,ts,f-mezzo,ss) Regina Carter(vl) Jay
Berliner(steel-g) Romero Lubambo(nylon-g)
Cyro Baptista (perc) Joey Baron(ds)
Steve Kirby(b) Charlie Giodano(accord)
| Nuages | Atlantic 83304 | |
| a Derniére Bergére (The Last Shepherdess) | Avatar Studio , NYC 2000 | |
| Manoir de Mes Reves/Django's Castle | ||
| Artillerie Lourde | ||
| Chasin' the Gypsy | ||
| Oriental Shuffle | ||
| I'll Never Be the Same | ||
| Avalon | ||
| Imari's Lullaby | ||
| James Carter celebrated 2000 by putting out two vastly different albums at the same time, an amazing concession from a major label for a jazz artist who doesn't sell in Kenny G-like proportions. Chasin' the Gypsy, as you might guess, is an homage to Django Reinhardt, whose music Carter used to dig on Detroit radio when he was a teenager, but Carter doesn't take the predictable reverent path in paying his respects. He rummages through his closet and pulls out a rarely used bass saxophone on three cuts — the bumpy sounds are often comic yet a comfortable fit for his antic style — and even tries out an F mezzo sax on the exotically relaxed "Oriental Shuffle." Back on tenor, Carter's slippery playing often doesn't hesitate to approach the outside; he keeps his sense of humor and his individual quirks intact. Most of the tunes are Django's yet the one that comes closest to evoking the frantic Hot Club Quintette drive is Carter's own title track, a madcap chase indeed with Carter on wild soprano sax this time. A nostalgic accordion underpins the tango-like "Nuages" á la Piazzolla; violinist Regina Carter provides the Stephane Grappelli-like foil on a few tracks (she does all right but could be a bit looser); and Jay Berliner and Romero Lubambo occasionally summon the ghost of Django with their respectively steel and nylon-stringed solo and rhythm guitar work. Mostly, this is a delightful departure for Carter, though probably destined to be a one-off excursion. — Richard S. Ginell | ||
* Chasin' The Gypsy /James Carter-Atlantic 83304
James Carter(saxs) Jef Lee Johnson(g) Marc Ribot(g) Jamaaladeen Tacuma(bb-g) Calvin Weston(ds)
| Layin' in the Cut | Atlantic 83305 | |
| Motown Mash | Magic Shop ,NYC 2000 | |
| Requiem for Hartford Ave. | ||
| Terminal B | ||
| Drafedelic in DB | ||
| There's a Paddle | ||
| GP | ||
| The second of James Carter's pair of 2000 releases shifts wildly, and perhaps trendily, toward electric funk, as the title cut proclaims within seconds. It's really a loose, collective electric jam session with all of the risks, occasional hot streaks, and passages of torpor that the term implies. Oddly enough, the tracks that really make it are those that are credited to only one composer: guitarist Jef Lee Johnson's stimulating Prime Time-like melee, "Terminal 8," that gathers momentum like a freight train; Carter's cooking "There's a Puddle" that explodes into a freeform burst on cue at the end; and Carter's "GP." The collectively credited pieces are the ones that tend to go nowhere, often desperately in need of editing or clear direction. At all times, though, Carter is a freewheeling dynamo on soprano and tenor saxes, not afraid to reach wildly to the outside even when the funk backgrounds are merely mild mannered. Carter draws from the New York City avant-garde scene for help: Marc Ribot is the other electric guitarist, Jamaaladeen Tacuma plays bass, and the volatile drummer G. Calvin Weston tries with partial success to mix things up. Carter says that he intends to pursue this direction in the future — with hopefully less diffuse results. — Richard S. Ginell | ||
* Layin' In The Cut / James Carter Atlantic 83305
Christian McBride(b,fender) Ron Blake (ss,ts) Shedrick
Mitchell(p,fender) Rodney Green(ds) Herbie Hancock (p)
Diane Reeves(vo) Toots
Thielemans (harmon) James Carter (b-cl,2tracks) David Gilmore(g)
| Avatar Studio , NYC , February 10-12 ,2000 | Aja | Verve 543915 |
| Uhura's Moment Returned | ||
| Xerxes | ||
| Lullaby for a Ladybug | ||
| Science Fiction | ||
| Walking on the Moon | ||
| Havona | ||
| I Guess I'll Have to Forget | ||
| Butterfly Dreams | ||
| Via Mwandishi | ||
| The Sci-Fi Outro | ||
| On a
large scale, there is no denying that music can move masses of people to assert themselves and establish a particular vision that will benefit many for years to come. With the release of Sci-Fi, the highly acclaimed bassist Christian McBride has established another great realm of music for his fans to explore. Accompanied by the dynamic Ron Blake on tenor and soprano sax, Shedrick Mitchell on piano and Fender Rhodes, the great Herbie Hancock on piano, Rodney Green on drums, David Gilmore on electric and acoustic guitar, Dianne Reeves giving great vocalese on "Lullaby for a Ladybug," James Carter on bass clarinet, and the exciting Toots Thielemans on harmonica, listeners will soon discover that the jazz galaxy will never be the same. The acoustic fusion and thematic sound concept for the CD settled in after McBride wrote "Science Fiction" and discovered it made a great nucleus for the CD. Featured selections include McBride's brilliant arrangements of masterworks by Stanley Clarke, Sting, Jaco Pastorius, and Steely Dan as well as seven original compositions by the versatile leader. Flawless piano grace from Herbie Hancock on "Xerxes" and "Lullaby for a Ladybug" and McBride's Fender Rhodes work throughout is a listen to behold. Particularly, the conversation between McBride's double bass and Carter's bass clarinet on "Walking on the Moon" shouldn't be missed. Sci-Fi is a seminal work by seminal artists and may very well be considered one of the most essential jazz recordings of the 21st century. — Paula Edelstein |
||
* SCI-FI / Christian McBride- Verve 543915
Regina Carter(vl) Werner "Vana" Gierig (p) Darryl Hall(b)
Alvester Garnett (ds) Mayra Casales (perc)
Marcus Belgrave (tp,flh) James Carter
(bs,ts-2tracks) Barry Harris (p) Russell Malone (g) Lewis Nash (ds)
| Recorded April 19, 20, 21 and 25, 2000 at Avatar Studios, New York | Don't Git Sassy | Verve 3145439272 |
| Don't Mess With Mister T. | ||
| For Someone I Love | ||
| Forever February | ||
| Higher Ground | ||
| Love Theme from Spartacus (North) | ||
| Prey-Loot | ||
| Fukai Aijo | ||
| Chattanooga Choo Choo | ||
| Up South | ||
| Two
years after her stunning debut on Verve, violinist Regina Carter offers listeners her exceptional string virtuosity on ten great songs inspired by her hometown of Detroit, Michigan. Motor City Moments features a stellar collection of songs written by some of the best musicians from Detroit including Marvin Gaye, Stevie Wonder, Thad Jones, and Milt Jackson. Regina Carter applies her pure skill, pizzicato, and arco passages to "Don't Mess With Mr. T" and "Higher Ground" with impeccable tuning and multiple approaches. Her string virtuosity on Milt Jackson's "For Someone I Love," is a masterful performance backed adeptly by Mayra Casales on percussion and spotlights a brilliant piano solo by Werner "Vana" Gierig. Two originals, "Forever February" and "Up South," which was co-written with guitarist Russell Malone, provide an interesting contrast of the artist's use of reflective temperament and folk-ornamented cadences. Each song also emphasizes Carter's adept techniques with melodic phrasing and song forms. Accompanied by her touring band of Daryl Hall on bass, Alvester Garnett on drums, percussionist Mayra Casales, Marcus Belgrave on trumpet and flugelhorn, James Carter on bass clarinet and tenor sax, Barry Harris on piano, Lewis Nash, as well as several special guests, Regina Carter has rapidly become one of the most exciting and original violinists to arrive on the jazz scene. — Paula Edelstein |
||
* Motor City Moments / Regina Carter/Verve 3145439272
Marcus Miller (b) Bernard Wright(fender) David Isaac (water
EFX) Larry Corbett(cello) Matthew Funes (viol)
Joel Derouin(vl) Hubert Laws(fl)
Lenny White (brush fills) Leroy "Scooter" Taylor(b) Michael Stewart(tp)
Herbie
Hancock(p) Paul Jackson Jr.(g) Mino Cinelu (perc) Hiram Bullock(g) Fred
Wesley(tb) Vinnie Colaiuta,Poogie Bell(ds)
Chaka Kahn, Djavan ,Raphael Saddiq
,Nikki Miller(vo) James Carter ,
Branford Marsalis, Kenny Garrett, Wayne Shorter, Maceo Parker(saxs)same personnel
| Hannival Studio ,Santa Monica ,CA, | Power | Dreyfus 36623 |
| Lonnie's Lament | ||
| Boomerang | ||
| Nikki's Groove (Miller) | ||
| Goodbye Pork Pie Hat | ||
| Ozell (Interlude 1) | ||
| Burning Down the House | ||
| It's Me Again | ||
| Cousin John | ||
| Ozell (Interlude 2) | ||
| 3 Deuces | ||
| Red Baron | ||
| Ozell (Interlude 3) | ||
| Your Amazing Grace | ||
*M2 /Marcus Miller /Dreyfus 36623
Hamiet Bluiett(bs) James Carter(bs,b-cl) Kahil
El'Zabar(perc,vo) Alex Harding(bs,b-cl) Patience Higgins(bs,b-cl)
Lee Person(trap) Coleridge-Taylor Perinson(comp,arr)same personnel
| Studio Tempo,January 13-15,2001 | (You're Still) My Girl (In Spite of... | Justin Time 158-2 |
| Humpback | ||
| Zippin' | ||
| Blueblack/Prelude to a Scream | ||
| LG's Place | ||
| Lamentation for JJ/Ballad for Babs | ||
| Juxtaposition | ||
| Angles | ||
| Gittin' It Good | ||
| The Here and Now | ||
| Sasa | ||
| The Bluiett Baritone Saxophone Group strikes again. Four baritone saxes make for quite a wall of low-register sound, and every quartet member but Bluiett — Patience Higgins, James Carter, and Alex Harding — doubles on bass clarinet. In Carter's case, make that contra-bass clarinet, an instrument that can cause the room to shake. Since the horns have the bass function covered, all that's needed are drums; hence the presence of trapsman Lee Person and percussionist Kahil El'Zabar. This is a challenging listen, even if it starts with a playful, lushly harmonized "My Girl," the Motown hit. "Humpback," the first of five compositions by Coleridge Taylor Perkinson, immediately follows, its dark, smeary rubato harmonies and ultra-low-end textures evoking the murky world of the whale. Bluiett's contributions ("Blueblack/Prelude to a Scream," "Juxtaposition," "Sasa — The Here and Now") tend to be more cacophonous, less structured; other tracks evoke a bright dance aesthetic ("Zippin'," "LG's Place"), touching upon what the late Lester Bowie liked to call "great black music." Taylor Perkinson's double tribute "Lamentation for JJ/Ballad for Babs" and his thoughtful "Angles" showcase the more elegant side of the quadruple-baritone configuration. — David R. Adler | ||
* Blue Black/Bluiett Baritone Nation
Justin Time 158-2
Cyrus Chestnut(p) Christian McBride(b) Lewis Nash(ds) Stefon
Harris(vib) Wycliffe Gordon(tb) Marcus Printup(tp)
Gary Bartz(as) James
Carter(ts-3tracks)
| Avatar Studios , NYC , June 16-19 , 2001 | Soul Food (Chestnut) - 8:40 | Atlantic 83490 |
| Brother With the Mint Green Vine | ||
| Cerebral Thoughts | ||
| Fantasia | ||
| Swing Low, Sweet Chariot | ||
| Brother Hawky Hawk | ||
| Minor Funk | ||
| Coming Through the Rye | ||
| In the Underground | ||
| Wellllll! | ||
| Goodnight | ||
| One
thing one can say about this popular swinging trad jazz pianist — he's definitely not selfish when it comes to passing the musical soul food around. The punchy, heavy-swaying eight-minute title track begins with a sizzling brass section and then Marcus Printup's thoughtful, several-minute trumpet solo, while Chestnut takes a supporting harmony role. "Brother With the Mint Green Vine" opens with a moody, dark chord foundation (very reminiscent of Joe Sample), but is largely fashioned as a duet between Chestnut's plucky ivories and Stefon Harris' whimsical vibes. Harris gets more solo time than his host. "Fantasia" has a classic trio sound in the Vince Guaraldi vein and is most memorable for Christian McBride's inventive upright bass solo over the soft brushes of Lewis Nash; Chestnut, of course, is at his elegant best, as he is on the one solo showcase he allows himself, a mournful rendition of "Swing Low Sweet Chariot." He shows off his improv skills most effectively on the free-for-all trio piece "Minor Funk." Just in case listeners should grow complacent that this is just another multifaceted jazz project, Chestnut tosses in a little musical humor with the peppy, horn-driven, New Orleans-styled "Brother Hawky Hawk." It's Chestnut's first album of original tunes since 1998, and he's back stronger than ever. — Jonathan Widran |
||
* Soul Food / Cyrus Chestnut/Atlantic 83490
James Carter (saxes) Johnny Griffin (ts) David Murray (ts)
Franz Jackson (ts,vo) Larry Smith (as) Dwight Adams (tp)
Kenn Cox (p) Gerard
Gibbes (org) Ralphe Armstrong (b) Leonard Allen (ds)
|
Live at Baker's Keyboard Lounge , Detroit,@June 16-18, 2001
|
Tricotism | Warner Bros. 48449-2 |
| Soul Street | ||
| Freedom Jazz Dance | ||
| I Can't Get Started | ||
| Free and Easy | ||
| Low Flame | ||
| Sack Full of Dreams | ||
| Foot Pattin' | ||
| Between 1995 and 2004, Detroit saxophonist James Carter released several conceptual discs: a salute to Django Reinhardt (Chasin' the Gypsy), electric-era Miles Davis (Layin' in the Cut), jazz ballads (Real Quiet Storm), and a lush Billie Holiday tribute (Gardenias for Lady Day). With the release of each disc, the unavoidable question remained: would Carter ever put out another straight-ahead session in the vein of his early-'90s recordings JC on the Set and Jurassic Classics? Happily, Live at Baker's Keyboard Lounge makes up for lost time. Carter and an amazing array of musicians took flight for three nights in June 2001 at Baker's in Detroit, featuring guest appearances by David Murray and Johnny Griffin alongside fellow Motor City natives Franz Jackson, Kenny Cox, Dwight Adams, Larry Smith, and Gerard Gibbs. On this set Carter frequently switches reeds, easily juggling tenor, soprano, and baritone saxophones, while his rock-solid rhythm section of bassist Ralphe Armstrong and the split drumming duties of Leonard King and the late Funk Brother Richard "Pistol" Allen (who passed away in 2002) keep the music simmering until the heat rises once again. Carter's choice of cover material is impeccable and well balanced. Instead of lazily strolling through the same old tried and true standards and songbooks, Carter and associates re-ignite tunes from the pen of Oscar Pettiford ("Tricotism"), Jimmy Forrest ("Soul Street"), Eddie Harris ("Freedom Jazz Dance"), and Don Byas ("Free and Easy"), before slowing the tempo on "I Can't Get Started," "Low Flame," and "Sack Full of Dreams," culminating with the four-tenor blowout of George Duvivier's "Foot Pattin'." The only time the train jumps the tracks is during "Soul Street." Organist Gibbs uses a synthesized, sampled vocal section that sounds like a mechanical Swingle Singers. The technology itself may be intriguing, but the results are completely out of place in this context. Live at Baker's Keyboard Lounge finds Carter cutting loose like a musician who's been conceptually sidetracked long enough. This is a back to basics blowing session and concepts be damned! — Al Campbell | ||
*Live At Baker's Keyboard Lounge / James Carter
Warner Bros. 48449-2
James Carter (ts,cl) John Hicks (p) Peter Washington (b)
Victor Lewis (ds) Miche Braden (v)
Phil Myers, Erik Ralske (frh) Jeff Nelson
(tb) Erik Charlston (vib) and Strings session
| Avator Studio C & Sony Studio B, NYC, Prov 2003 | Gloria | |
| Sunset | ||
| (I Wonder) Where Our Love Has Gone | ||
| I'm in a Low Down Groove | ||
| Strange Fruit ( | ||
| A Flower Is a Lovesome Thing | ||
| Indian Summer | ||
| More Than You Know | ||
| Following up his 2000 tribute to guitarist Django Reinhardt, Chasin' the Gypsy, saxophonist James Carter pays homage to iconic jazz singer Billie Holiday on Gardenias for Lady Day. Perhaps never before has the jazz iconoclast balanced so perfectly his "big top" avant-garde leanings with his more pinstriped traditionalist aesthetic. This is a beautiful album that revels as much in classic melody as it does in Carter's most torrid saxophone "skronk." Although the album largely succeeds on Carter's virtuosic performance, it gains most of its character from the deft and unpredictable orchestral arrangements of Greg Cohen and fellow Detroiter Cassius Richmond. In particular, Richmond brings a cinematic quality to the album with his treatments of "Sunset," "I Wonder Where Our Love Is Gone," and "Gloria" that breathe and swell, rubbing dramatically against Carter's muscular sound. Similarly, Cohen — who has worked with such N.Y.C. downtown scenesters as John Zorn, David Byrne, and Tom Waits — brings a quirky and epic quality to his tracks. Featuring a very Nina Simone-esque performance by vocalist Miche Braden, Holiday's most famous number, "Strange Fruit," is magnified by Cohen into a brooding film noir that ultimately descends into an apocalyptic barrage of screams and wails, with Carter and Braden manifesting all the anguish and anger the song implies. It is unclear if the orchestra and band recorded at the same time, but even if they did not, Carter's stellar rhythm section featuring pianist John Hicks, drummer Victor Lewis, and bassist Peter Washington lends an organic quality to the proceedings that feels natural and lithe. Continuing to display a unique and singular vision, Carter has crafted a fittingly urbane, elegant, and unnerving album that celebrates both Holiday's haunting spirituality and earthy sexuality. — Matt Collar | ||
* Gardenias For Lady Day / James Carter Columbia Record CH 89032
VIDEO (PBS)