Jazz
Sweet electric work from Ron Carter -- subtle magic in the best CTI mode! Ron arranged the set himself, but he's working with a core group of CTI players that includes Bob James and Richard Tee on electric piano, Hubert Laws on flute, Ralph MacDonald on percussion, and Billy Cobham on drums -- shifting mood, tone, and color with ease as each new track on the album emerges -- and uniting the whole proceedings with work on acoustic bass and piccolo bass! Not funky, but very soulful -- with a keen sense of space, but never too much so to make things snoozy. Titles include "Blues Farm", "Hymn For Him", "Two Beat Johnson", and "R2, M1". (Later non-gatefold pressing.)
From Dusty Groove.
**
In 1968, having completed a five-year stint with Miles Davis, Ron Carter's career was wide open. Finding himself in typically high demand, the bassist decided not to make any long-term commitments (though he continued to join individual recording dates), opting instead to develop his solo career. In 1971, he released Uptown Conversation (Atlantic). Shortly after, he signed to the CTI label, releasing Blues Farm in 1973. The bass is rarely found in such a prominent role, its melodic qualities typically being subordinate to rhythmic ones. The presence of a pianist, guitarist, and two percussionists on Blues Farm frees Carter to explore both realms. Working with Davis was obviously a valuable experience. On numbers like "Footprints" (from Miles Smiles, 1965), Carter was required to extend and compress time, a technique that is second nature to him on Blues Farm. Dense, dexterous runs are broken up by long, bending lines and shades of blues phrasing, all executed with absolute grace. His playing becomes slightly imposing on "Django." While it's great to hear him lead the group on a tour through the song's shifting rhythms, the accompanists aren't allowed much space. Carter's playing is best when more deeply integrated. On the title track, he engages in a wonderful exchange with flutist Hubert Laws, with the two swapping solos back and forth. On "Hymn for Him," his probing lines enrich the song, pushing its narrative forward. The best comes last as the group rides "R2, M1" to the album's conclusion. The song subsists largely on the group's energy (the most they display outwardly on the album) and Carter's deep, repetitious groove. Unfortunately, great musicianship does not always make for compelling results. Blues Farm's excursions are enjoyable, but somewhat reserved. Both the compositions and performances avoid strong emotions in favor of pleasing palettes of color and texture. The early-'70s production values only enhance this by softening the bed of musical tones. The resulting polish tranquilizes the sound and ultimately dates the album.
By Nathan Bush.
**
Ron Carter- Bass, Piccolo Bass
Billy Cobham- Drums
Sam Brown- Electric Guitar - Gene Bertonici (tracks: B2)
Bob James- Electric Piano - (tracks: A2, A3, B3)
Richard Tee- Electric Piano, Organ
Hubert Laws- Flutes
Ralph MacDonald- Percussion
**
A1. Blues Farm 8:06
A2. A Small Ballad 5:40
A3. Django 5:31
B1. A Hymn for Him 8:12
B2. Two-Beat Johnson 2:50
B3. R2, M I 6:08
**
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