Despite this CD's title and a slight emphasis on ballads, The Real Quiet Storm 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 ...
Given the glut of "String Quartet Tribute to So and So," "Electronic Tribute to Some Crappy Band," and "Pickin' on Whomever" "tributes," it's somewhat surprising that no one has tackled Pavement in a tribute album -- not until now, at any rate. And even more surprising is that it's not one of those aforementioned knockoffs; it's a heavyweight jazz ...
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 ...
During the early '90s, Ginger Baker gradually established his reputation as a genuine jazz musician, proving that he was no rocker that was merely dabbling. Of course, anyone familiar with Cream will realize that he was among rock's jazziest drummers, but his series of records with Bill Frisell convinced many doubters of his musical merit. On one ...
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 ...
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 ...
Recorded in 2004 at the Blue Note in New York, Out of Nowhere finds James Carter paired up with fellow Detroiters Gerard Gibbs on organ and Leonard King on drums for the unofficial sequel to Live at Baker's Keyboard Lounge. While the trio revitalizes the standard "Out of Nowhere" and breezes through Benny Golson's jazz classic "Along Came Betty," ...
James 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 passing time and accomplishments accumulating before Carter is thought of as one of the all-time greats. This particular CD, In Carterian Fashion, differs from his earlier ones in that Carter (who ...
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 Conversin' with the Elders. Carter matches wits with the eccentric trumpeter Lester Bowie on "Freereggaehibop" and the often-hilarious "Atitled ...
Present Tense was born out of two very specific desires. First, saxophonist James Carter wanted a precise recorded portrait of where he was at as a musician, aesthetically and technically. Second was producer Michael Cuscuna's dead-on assertion that Carter, for all his instrumental and aesthetic virtuosity, had never been represented well on tape. ...
Heaven on Earth finds saxophonist James Carter performing live at the Blue Note Club in N.Y.C. in May of 2009. Backed by a select small group of musicians including organist John Medeski, bassist Christian McBride, guitarist Adam Rogers, and drummer Joey Baron, Carter runs through a short list of standards and lesser-known covers. In contrast to ...
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