Jazz

Ron Carter - Patrao (1980)

2014-06-12T16:02:44Z

Ron Carter - Patrao (1980)


01 - Ah, Rio
02 - Nearly
03 - Tail Feathers
04 - Yours Truly
05 - Third Plane

Ron Carter - Bass 
Edison Machado – Drums (tracks: A1, B3)
Jack DeJohnette – Drums (tracks: A2, B1, B2)
Amaury Tristao – Guitar (tracks: A1, B3)
Nana Vasconcelos – Percussion (tracks: A1, B3)
Aloisio Aguiar – Piano (tracks: A1, B3)
Kenny Barron – Piano (tracks: A2, B1, B2)
Chet Baker – Trumpet

I'm afraid the whole Latin thing does very little for me, and there's just a bit too much of it on this album for me to really enjoy it. At least it's done in such a breezy, lighthearted way that it's not annoying. What is completely amazing about this album, however, is how they managed to get this big booming sound out of Ron Carter's bass -- it's like they wanted to make a BIG point out of the fact that the leader of this session is a bass player. Carter does weird things to showcase his bass, not necessarily virtuoso stuff, not really things that sound good, more like making his presence obvious to the last deaf person on earth. You have to hear it to believe it. The trumpet player on this session is Chet Baker by the way, and he sounds fabulous throughout. --- hprill, rateyourmusic.com

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Ron Carter - San Sebastian (2013)

2013-09-06T15:46:06Z

Ron Carter - San Sebastian (2013)


1. Candle Light
2. My Funny Valentine
3. Saudade
4. Samba de Orpheu
5. The Golden Striker

Musicians:
Ron Carter - Bass
Russell Malone - Guitar
Mulgrew Miller – Piano

Consisting as it does of pianist Mulgrew Miller, guitarist Russell Malone and Carter himself on bass, Ron Carter's Golden Striker Trio might be described as a supergroup, although the label doesn't quite fit its slightly introspective brand of jazz chamber music. All three are such stupendous players that they could go on tinkering away for hours at tunes like My Funny Valentine and keep you spellbound. The trio's name derives, of course, from a classic old Modern Jazz Quartet number, and in some ways it's a successor to the MJQ, although less formal in style and presentation. --- Dave Gelly, theguardian.com

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Ron Carter - Uptown Conversation (1971)

2009-10-20T10:45:18Z

Ron Carter - Uptown Conversation (1971)


1. Uptown Conversation
2. Ten Strings
3. Half A Row
4. R.J.
5. Little Waltz
6. Einbahnstrasse
7. Doom
8. Einbahnstrasse (bonus)
9. Doom (bonus)

Ron Carter - Bass, Bass (Electric), Composer, Guitar, Guitar (Bass)
Sam T. Brown - Guitar
Billy Cobham - Drums
Herbie Hancock - Piano, Piano (Electric)
Hubert Laws - Flut
Grady Tate - Drums

Ron Carter's Uptown Conversation may very well be the most intriguing, challenging, and resonant statement of many he has made over the years as a leader. Originally on the Embryo imprint of Atlantic Records, Wounded Bird now reissues it with two alternate takes. As a prelude to his funkier electric efforts for CTI and the wonderful dates for Milestone Records where he emphasized the piccolo bass, these selections showcase Carter with unlikely partners in early creative improvised settings, a hint of R&B, and some of the hard-charging straight-ahead music that he is most well known for. Flute master Hubert Laws takes a prominent role on several tracks, including the title cut with its funky but not outdated style, where he works in tandem with Carter's basslines. On "R.J.," the short hard bop phrasings of Laws and Carter are peppy and brisk, but not clipped. The first rendering of "Little Waltz" apart from the Miles Davis repertoire to which Carter contributed is more pensive and delicate, with Laws at the helm rather than Davis' trumpet. Carter's trio recordings with pianist Herbie Hancock and drummer Billy Cobham are cast in a different light, as the lengthy "Half a Row" (referring to six of a twelve-tone row) is at once free, spacy, loose, and very atypical for these soon-to-be fusion pioneers. The three stay in a similar dynamic range during "Einbahnstrasse," but move to some hard bop changes informed by the brilliant chordal vamping and extrapolating of Hancock, while "Doom" is another 3/4 waltz with chiming piano offsetting Carter's skittering bass. There's also a free-and-easy duet with guitarist Sam Brown, and this reissued CD also includes alternate takes of both "Doom" and "Einbahnstrasse" as bonus tracks, the latter piece omitting the dark foreboding intro. Considering the music Ron Carter played preceding and following this effort, you'd be hard-pressed to find a more diverse, intellectually stimulating, enlivened, and especially unrestricted musical statement in his long and enduring career. ---Michael G. Nastos, Rovi

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Ron Carter – When Skies Are Grey (2000)

2009-10-20T10:46:53Z

Ron Carter – When Skies Are Grey (2000)


1.LOOSE CHANGE  (R.Carter) 7:08
2.BESAME MUCHO  (C.Velazquez) 7:05
3.CAMINANDO  (R.Carter) 7:07
4.QUE PASA  (R.Carter) 5:29
5.CORCOVADO  (A.C.Jobim) 7:22
6.CUBANO CHANT  (R.Bryant) 6:00
7.MI TEMPO  (R.Carter) 8:12

RON CARTER- bass
STEPHEN SCOTT- piano
HARVEY MASON- drums
STEVE KROON- percussion

Recorded May 1, 2000
TOTAL TIME: 48:25

This beautiful, Latin-themed album by bass superpower Ron Carter almost can stand in as a Stephen Scott showcase, for the young pianist's verve and finesse are in evidence from start to finish. Carter reserves plenty of solo room (and a number of melody statements) for himself, however. Drummer Harvey Mason and percussionist Steve Kroon work together to create a luxurious, flowing Latin vibe that makes each tune a true listening pleasure. One highlight is the group's slow, polyrhythmic take on Jobim's "Corcovado." Another is a grooving version of Carter's "Loose Change," a tune that appeared in a very different light on Joe Henderson's State of the Tenor album. Scott woos with his bluesy delicacy on "Que Pasa," another Carter original, and swings exuberantly on fellow pianist Ray Bryant's "Cubano Chant." Carter's brief quote of "Seven Steps to Heaven" during the closing original, "Mi Tempo," is enough to make one skip a heartbeat. When Skies Are Grey contains nothing ambitious or wildly innovative -- just great, accessible music. Fans of Stephen Scott in particular can't miss with this one. ---David R. Adler, Rovi

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