martes, 3 de noviembre de 2009

James CARTER - JC On The Set 1993


James CARTER - JC On The Set 1993

Jazz

Few jazz albums today can grab hold of the listener as much as this one. More remarkable than this, however, is that James Carter's first effort does have its lesser points, yet still compels and amazes the listener. Perhaps this might be the typical response from a jazz-listening public that is tired of such polished and synthetic works that saturate most of today's radio. Whatever the reason, Carter and his quartet possesses the unique ability to relentlessly please the listenter from every angle. From solo to solo one never knows what will come next, and this vitality makes the work as a whole very worthwhile. Above all else, the album reflects the dynamic talents of a brilliant reeds player who keeps the ears filled with wonderfully creative solos that can -- at times -- even slip into bars from other recognizable melodies (ie, in the first track Carter falls into "Rhapsody in Blue" then glides effortlessly back into his own creation). One also can appreciate Carter's desire to be recognized as a distinctly passionate artist, as reflected by how he tackles Ellington's "Sophisticated Lady" with his well-toned and courageous baritone sax. As introductions go, this one is stunning and unforgettable.
By Unknown.
**
James carter is a throwback to the days when saxophonists walked with a certain swagger, had their own signature sounds and didn't need microphones to be heard. What makes his debut, JC on the Set, so remarkable is not a matter of chops but of depth. Carter has a conspicuous gift for the entire post-Coltrane jazz vocabulary and a genuine affection for pre-Charlie Parker saxophone techniques, too.

In fact, Carter seems to play the entire history of the saxophone within a single solo. With unflagging lyricism and commanding sound, he takes flag-waving lines like those in "Baby Girl Blues" or "Lunatic" and evokes the dueling saxophones of a thousand cutting sessions. The effect can be daunting, as he crowds idea upon idea like a crush of blood cells trying to squeeze through one capillary. It is a youthful shortcoming for an such an uncommonly mature musician, but it never undercuts the power of this record, as Carter shows prodigious emotional facility, muscular tone and a stunning sense of swing on tenor, baritone and alto.

Carter covers the Ellington standards "Caravan" and "Sophisticated Lady" on baritone – the latter all suave elegance and lyric restraint, the former visceral, gusty and free – and he suggests the entire Ellington reed section all by his lonesome. On "Hour of Parting" he invokes the pear-shaped romantic inflection of alto giants Benny Carter and Johnny Hodges, while his rendition of unsung tenor giant Don Byas' "Worried and Blues" is husky yet tender in the macho tradition of Coleman Hawkins and his children.

As a composer, James Carter favors the tenor's heraldic blues legacy. On the title tune and "Blues for a Nomadic Princess" he employs old-time slap-tonguing effects one minute and then ascends into the stratosphere with fervent chromatic cries the next – from swing time to no time and back with no loss of focus.

Carter's band is excellent, playing with tremendous grace and integrity. While JC on the Set is an imposing debut, it will be fascinating to see how Carter evolves. But even at this early stage in his development, Carter is the most exciting young saxophonist to arrive on the scene in the past 25 years. (RS 696)
By Chip STERN. Rollingstone.
**
James Carter- Sax (Alto), (Tenor), (Baritone)
Craig Taborn– Piano
Jaribu Shahid– Bass
Tani Tabbal- Drums
**
01.JC on the Set [James Carter] [6:25]
02.Baby Girl Blues [James Carter] [7:47]
03.Worried and Blue [Don Byas] [8:07]
04.Blues for a Nomadic Princess [James Carter] [13:50]
05.Caravan [Duke Ellington & Juan Tizol] [9:43]
06.Hour of Parting [Schiffer & Spoliansky] [8:18]
07.Lunatic [John Hardee] [4:18]
08.Sophisticated Lady [Duke Ellington] [6:41]
**
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