Jazz
I've been a fan of James Carter for some years now and own every CD he's recorded. Someone once predicted that Joshua Redman would become the next John Coltrane but, if there is going to be a saxophonist to compare with St. John, my money is on Carter.
It's difficult to pin down what he's doing and where he's going because he is still BECOMING what he will be and I don't think he's established a pattern yet that allows us to predict his next recording efforts. No two of his albums have been the same.
Chasin'The Gypsy just blew me away! I've played it over and over and over again and I still love it for its richness of sound, its depth and multi-layered textures. My favorite Carter album had been The Real Quietstorm, a fascinating collection of ballads done in Carterian fashion, but now it has competition from Gypsy. If you haven't been introduced to Carter yet, start with these two CDs. But if you are a straight-ahead jazz fanatic, as I am for ballads, then try Layin' In The Cut or JC On The Set. It's all beautiful music. So, do yourself a favor and listen to this man!
By Unknown.
**
For Chasin' the Gypsy, James Carter enlists violinist (and cousin) Regina Carter, drummer Joey Baron, guitar mainstay Jay Berliner, and several others to tackle this homage to Gypsy guitar virtuoso Django Reinhardt. The bustle and muscle are in balance, with accordion, steel-string guitar, bass saxophone, violin, and drums flawlessly chugging through these nine tunes.
By Andrew Bartlet
**
At first glance, jazz guitarist Django Reinhardt might seem an unlikely inspiration for a modern jazz saxophonist. But in referencing the fiery gypsy virtuoso (while employing dual acoustic guitarists), James Carter has fashioned his most compelling, fully formed recital as a leader. While his galloping soprano on the title tune enhances Carter's reputation as fiery technical craftsman (all the more joyous for the torrid exchanges with his cousin, violinist Regina Carter), Chasin' the Gypsy showcases his gifts as a torch player, while deepening his connections to the rich timbres, macho articulations, and swinging romanticism of the pre-bebop saxophone tradition. In the process, he finds provocative new applications for forgotten instruments of the 1920s. On "Oriental Shuffle," he elicits a ripe, bulbous tonality from the F Mezzo--like a soprano sax on steroids--carefully layering taut melodic nuggets until busting out in a Djangoish reverie. Even more satisfying is his portrayal of the classic chestnut "I'll Never Be the Same," in which James matches Regina's soaring lyricism by transforming the ungainly bass saxophone from an ugly duckling into a lithesome swan (as he also does on Django's classic "Nuages," with Charlie Giordano's accordion providing authentic period counterpoint). Fans of Carter's timeless tenor saxophone tone won't be disappointed by the tender inflections marking his intimate performance of "Django's Castle" and an original for his freshly minted baby daughter, "Imari's Lullaby." This is a big step up in class for the young heavyweight.
By Chip Stern.
**
James Carter- Sax (Bass), Sax (Tenor), Sax (Soprano)
Regina Carter- Violin
Charlie Giordano- Accordion
Romero Lubambo- Guitar (Nylon String)
Steve Kirby- Bass
Jay Berliner- Guitar (Steel)
Joey Baron- Drums
Cyro Baptista- Percussion
**
01. Nuages (Clouds) (5:36)
02. La Derniere Bergere (The Last Shepherdess) (6:34)
03. Manoir De Mes Reves (Django's Castle) (7:30)
04. Artillerie Lourde (Heavy Artillery) (6:55)
05. Chasin' The Gypsy (4:02)
06. Oriental Shuffle (8:04)
07. I'll Never Be The Same (7:17)
08. Avalon (4;38)
09. Imari's Lullaby (3:49)
**
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