Ron CARTER - All Blues 1974

Ron CARTER - All Blues 1974

Jazz

One of bassist Ron Carter's better albums as a leader, this CTI LP
features a very compact quartet comprised of tenor saxophonist Joe
Henderson, pianist Roland Hanna (keyboardist Richard Tee sits in on
one number), drummer Billy Cobham and Carter. All of the music (even
the ballad "Will You Still Be Mine?") has a blues feeling although
several are not really blues. However, the quality of the solos is
high, and this date lives up to one's expectations.
By Scott Yanow. AMG.
**
Joe Henderson- Tenor Sax
Roland Hanna- Piano
Richard Tee- Peyboard
Ron Carter- Bass, Piccolo Bass
Billy Cobham- Drums
**
A1. A Feeling 3:20 
A2. Light Blue 6:45 
A3. 117 Special 7:05 
       Piano [Electric] - Richard Tee 
B1. Rufus 5:11 
B2. All Blues 9:35 
B3. Will You Still Be Mine 3:58
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Ron CARTER - Blues Farm 1973

Ron CARTER - Blues Farm 1973

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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Ron CARTER – Yellow & Green 1976

Ron CARTER – Yellow & Green 1976

Jazz

A low point for bassist Ron Carter, this aimless set suffers from the malaise that hit the jazz scene after the fusion boom of the late '60s and early '70s. Somewhere about the time of this 1976 release, fusion's creative energies were being overtaken by a new drive to blend jazz with pop music. The theory was this would expand the jazz audience. The reality was music that only alienated jazz fans and held limited appeal to pop audiences. Yellow and Green is a representative product of this era. For the most part, it's a hollow, pointless exercise, afflicted by the stylistic tug of war inherent in the jazz-pop hybrids of the late '70s. The writing is directionless and the playing mainly indifferent. The LP chiefly serves as a showcase for Carter's overdubbed piccolo and acoustic basses. Unfortunately, the performances are too often a clutter of busy fingers, with the bassist's overly enthusiastic virtuosity getting in the way of any chance for musical dialogue between his instruments. Not surprisingly, the best tracks — the respectable ballad "Opus 1.5" and a jaunty version of Thelonious Monk's "Epistrophy" — are the most straight-ahead, done without overdubbing and with some decent piano from Kenny Barron. Elsewhere, Don Grolnick chimes blandly on electric piano and Hugh McCracken contributes wispy guitar accompaniment that serves no purpose, while drummer Billy Cobham tries to keep from being overwhelmed by the dullness of it all. An episode best forgotten.
By Jim Todd. AMG.
**
Bass, Cowbell, Tambourine - Ron Carter
Drums - Billy Cobham (tracks: A1, A2, B1, B2)
Drums - Ben Riley (track B3)
Guitar - Hugh McCracken
Percussion - Dom Um Romao (tracks: A2, B2)
Piano - Don Grolnick (tracks: A2, B1) , Kenny Barron (tracks: A1, B2, B3)
**
A1. Tenaj 7:41
A2. Receipt, Please 7:02
A3. Willow Weep For Me 2:35
B1. Yellow & Green 6:10
B2. Opus 1.5 6:54
B3. Epistrophy 6:06
**
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Ron CARTER - The Golden Striker 2003

Ron CARTER - The Golden Striker 2003
Label: Blue Note

Jazz

I was admittedly sceptical about purchasing this cd, having read less than stellar reviews elsewhere, but something about the cover spoke to me (not to mention that it featured the great Russell Malone). How glad I am that I followed my instincts! I am by no means a jazz fanatic, but I do know good music when I hear it, and this recording has not left my CD player since I bought it. Each player gets his turn to shine, but the solos never become monotonous or self-indulgent (often the case in some jazz music IMHO). There is thoughtful interplay between the musicians, each one obviously knowing how to listen to the other. It reminds me of another one of my favorite recordings, Jim Hall's 'Concierto' (minus the horns and drums). As a matter of fact, they both contain a reading of Rodrigo's 'Concerto De Aranjuez', and, while I thought nothing could top Mr. Hall's interpretation, this rendition stands on it's own merits. Mulgrew Miller's piano never dominates, Russell Malone's solo is short but spot-on and Ron Carter's bass work holds the whole thing together. 'N.Y. Slick' is an odd composition with some dissonant guitar work that somehow works. The more I listen to this recording, the more I enjoy it.
One odd thing; throughout the disc there is a sort of weird background noise that I can't identify. Could be the squeaking of the upright bass or Mr. Carter grunting (or mouthing) the notes as he leans into his parts. Thoughts anyone?
Again, I highly recommend this disc.
By  Frank Verhaeghe.
**
Mulgrew Miller- Piano
Russell Malone- Guitar
Ron Carter- Bass
**
01. The Golden Striker 5:22
02. On and On 3:01
03. NY Slick 4:08
04. Concierto de Aranjuez (Adagio Theme) 7:02
05. Cedar Tree 5:04
06. A Quick Sketch 6:27
07. Parade 5:32
08. A Theme in 3/4 5:20
09. Autumn Leaves 6:18
**
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The Ron CARTER Nonet - Eight Plus 1990

The Ron CARTER Nonet - Eight Plus 1990
Label: Dreyfus

Jazz

This is a great album, but considering Ron Carter's documented love for classical music, it's not the kind of record-with-strings expected from the legendary jazz bassist. The cellos that augment Carter's quintet here came to swing, get the blues, add poignant counterpoint, and take a visit to church. If there's an exception, it's the album's opus, "El Rompe Cabeza," which has an Astor Piazzola-meets-Maurice Ravel contemporary classical feel. Carter's bowed piccolo bass, maybe the highlight of the disc, replaces the bandoneon as the lead on this light tango and is a perfect foil to the tension created by the string quartet. Three of the compositions Carter resurrects from his Miles Davis and CTI days. These tunes, "Eight," "Little Waltz," and "First Trip" are given sparkling, fresh arrangements. On "A Song For You," as he plays the melody, Carter arranges the strings in a setting befitting a classy pop standard, with echoes of the Beatles' "Eleanor Rigby" and Stevie Wonder's "Village Ghetto Land."
Eight Plus is the first American release by the Ron Carter Nonet. With a cello quartet augmenting his regular ensemble of piano, bass, drums and percussion, Carter and his piccolo bass (the ‘Plus’ of the album’s title) are immersed in a wonderfully varied array of stylish and evocative compositions.
On Eight, the composer makes the cello quartet an equal partner in the ensemble. O.K. is a portrait in controlled, but exuberant swing. Ron’s ‘favorite Leon Russell composition’ A Song For You takes on a haunting new dimension with the delicately slashing lines of the cellos. "To those fans who enjoy a bit of Oscar Pettiford swing...take this First Trip" says Carter about this composition, written in the solo style of the immortal bassist.
A provocative endeavor like this must be conceived fully to avoid chaos, but even more importantly to face the challenge of maintaining the freedom and spontaneity that is at the core of all great music in the jazz tradition. Ron Carter has met this challenge on all fronts and in doing so has created a magnificent piece of art.
By Mark Ruffin.
**
Ron Carter- Piccolo Bass
Stephen Scott- Piano
Leon Maleson- Bass
Lewis Nash- Drums
Steve Kroon- Percussion
Kermit Moore, Chase Morrison- Cello
Carol Buck, Rachel Steuermann- Cello
**
01. Eight
02. A Blues for Bradley
03. Little Waltz
04. O.K.
05. A song foryou
06. First Trip
07. El rompe cabeza
08. A closer walk with thee
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Ron CARTER and Jim HALL - Telepathy, Telephone 1982-1984

Ron CARTER and Jim HALL - Telepathy, Telephone 1982-1984
Label: Concord
Released: 10 Jul 2001

Jazz

Telepathy is the union on compact disc of two Ron Carter/Jim Hall live collaborations. Live at the Village Gate (Concord 4245, 1984) comprises the first disc of this two-disc set, while Telephone (Concord 4270, 1985) comprises the second. Collectively, Telepathy offers a seamless look a to of the most urbane and intelligent jazz musicians performing. Ron Carter brings to this duo his abstract yet grounded view of double-bass playing while Jim Hall provides his brand of the most delicate guitar playing I have heard in some time. Hall's guitar on this collection make me think of doilies very intricately woven from spider silk. His single note lines are spare and his chording precise and clear. He might be considered as Count Basie to Joe Pass' Art Tatum. Carter, for his part, is a completely empathetic accompanist and soloist.
Live at the Village Gate contains the most satisfying of music with an ultra bluesy "Bag's Groove", "Blue Monk", and a calypso "St. Thomas". But don't discount Telephone. It has a "Stardust" to swoon to. I found this set very enjoyable and would hope that the label has more plans like this one in the future. This is superb chamber jazz by two incredible practitioners at the pinnacle of their powers. Kudos to Concord for this repackaging.
By C. Michael Bailey. AAJ.
**
Here are two duet albums, both recorded live within two years of each other between a pair of giants: bassist Ron Carter and guitarist Jim Hall. Hall, along with his former bandmates Jimmy Giuffre and the late Paul Desmond, is the consummate melodic improviser, and Carter, despite his tenures with Rollins and Coltrane, is adept at moving from one musical space to another -- either intervalically, modally, or stylistically -- without difficulty.
The intimate interplay found on both Live at the Village West and its successor, 1984's Telephone (as in two-way conversation), is nothing short of remarkable. The setup is between two front line instrumentalists who are both rhythmnatists in their own right. Hall is a consummate rhythm guitarist and he gets a chance to display it on tunes such as "Down From Antigua," "Laverne Walk," "Indian Summer," and "Two's Blues." Carter, who is known for his unwavering rhythmic commitment, is deft as a lead man in such an intimate setting. Check out his solos on "Bag's Groove" and "Alone Together." Hall, however, is the greatest surprise. Despite the fact that this is, as one would expect, a fairly laid-back date, his intricacy of attack and his lofty, harmonic scalar heights are simply astonishing. In his solo ascent on Carter's "Telephone," he goes inside the rhythm and harmony of the tune and exchanges them interval by interval. On "St. Thomas" from the Village West album, he cops the three-string lead pattern he's so famous for, inverts the harmony and melody, and builds a new series of changes in the middle of the break. The gorgeous low-key swinging found here in this reissue proves one thing for sure -- that these two dates should have always been packaged together. These are indispensable guitar and bass duets by two masters of intimate musical discourse.
By Thom Jurek, AMG.
**
Ron Carter- (Double Bass)
Jim Hall- (Guitar)
**
CD 1  Telepathy (1982)
Recorded live at the Village West, New York, New York in November 1982.

01. Bag's Groove 4:22
02. All The Things You Are 5:52
03. Blue Monk 5:18
04. New Waltz 6:15
05. Down From Antigua 7:34
06. Summer Night 6:59
07. St. Thomas 4:50
08. Embraceable You 6:48
09. Laverne Walk 5:30
10. Baubles, Bangles and Beads 5:16
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CD 2  Telephone (1984)
Recorded live at the Concord Pavillion, Concord, California in August 1984

01. Introductory Announcement  0.22
02. Telephone 5:11
03. Indian Summer 5:55
04. Candlelight 4:17
05. Chorale And Dance 6:53
06. Alone Together 10:15
07. Stardust 7:45
08. Two's Blues 4:43
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Ron CARTER - Jazz, My Romance 1994

Ron CARTER - Jazz, My Romance 1994
Label: Blue Note

Jazz

Jus some standard, straight ahead pure jazz...No smoke, mirrors or electro-audio-nonsense that comes passing as jazz to relax to...
This is that fareal serious slump...'slump' is what you do when you sittin back relaxin, gettin ready for a date, been doin house work or about to. 'slump' is the art of gettin your spirit and your mind right and brother Carter delivers a serious soundtrack for that very purpose...
By R. Davis. 
**
As with virtually all of Ron Carter's recordings as a leader, this CD is primarily a showcase for his bass solos. The unusual combination of musicians (a trio with guitarist Herb Ellis and pianist Kenny Barron) really does not live up to its potential. There are some short spots for Ellis and Barron but their roles are mostly in support of the bassist. Some of the selections (particularly "Sweet Lorraine" and the bassist's original "For Toddlers Only") do have their memorable moments but none of the songs are taken at faster than a medium tempo. Since bass solos (as with most drum showcases) often lose a lot when transferred to record (as opposed to being seen live), this CD is recommended mostly to Ron Carter completists.
By Scott Yanow,AMG.
**
Ron Carter: Bass
Herb Ellis: Guitar
Kenny Barron: Piano
**
01. Blues for D.P.
02. My Romance
03. Airegin
04. Quiet Times
05. Summertime
06. I Fall in Love Too Easily
07. For Toddlers Only
08. Sweet Lorraine
**
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Ron CARTER Sextet - Orfeu 1999

Ron CARTER Sextet - Orfeu 1999
Label: Blue Note

Jazz

For nearly 40 years, Ron Carter has been jazz's most in-demand and well-traveled bassist: from Miles Davis's Someday My Prince Will Come to A Tribe Called Quest's The Low End Theory. Along the way, Carter has recorded several projects featuring Brazilian music. On this recording, Carter, along with pianist Stephen Scott, tenor saxophonist Houston Person, guitarist Bill Frisell, drummer Payton Crossley, and percussionist Steve Kroon apply jazz forms to Afro-Brazilian samba rhythms. As a frequent visitor to Brazil and as a devoted student of that country's music traditions, Carter and his crew deliver a subtle, laid-back CD that combines the best of both worlds. Carter's "Saudade," which roughly translates from Portuguese as "longing," highlights the Iberian character with its mournful melody. His other tunes "Por-do-sol," "Samba De Orfeu," and "Obrigado" make the Rio De Janeiro/Bahia-born rhythms swing with their festival-parade soul intact. On Jobim's "Manha De Carnaval," from the motion picture Black Orpheus, Person's broad and breathy tenor solo echoes Stan Getz's floating melodies. Carter's "1:17 Special," dedicated to the African-American "underground railroad" and Dvorak's "Goin' Home," ring with the spirituals and the blues, peppered by the percussive percolations brewed by Carter's buttery bass tones and the rhythmic relations from Brazil.
By Eugene Holley Jr. AMG.
**
Ron Carter- Bass
Houston Person- Tenor Sax
Stephen Scott- Piano
Bill Frisell- Guitar
Payton Crossley- Drums
Steve Kroon- Percussion
**
01. Saudade (6:34)
02. Manha De Carnaval (5:57)
03. Por-do-sol (5:17)
04. Goin' Home (7:27)
05. 1:17 Special (6:53)
06. Obrigado (5:34)
07. Samba De Orfeu (7:36)
**
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Ron CARTER - Peg Leg 1977 (REPOST)

Ron CARTER - Peg Leg 1977 (REPOST)                                                                                    
Label: Ojc
Audio CD: (July 1, 1991)
Recorded: November 16,18,21,22, 1977

Jazz

Carter is superb on the piccolo bass, and the arrangements are what he wanted. At its best, this record is a wonderful exposition of a brilliant musician at his finest. At its worse (which isn't bad) it sounds overproduced.
If you don't like the arrangements, then check out Carter's Piccolo. Or shut up.
By  D. J Pigott.
**
Ron Carter- Bass, Piccolo Bass, Percussion
Buster Williams- Bass
Kenny Barron- Piano
Jay Berliner- Electric & Acoustic Guitar
Tony Iinzalaco- Drums
Ben Riley- Drums, Percussion
Jerry Dodgion- Flute, Alto Flute, Clarinet
George Marge- Flute, Oboe, Clarinet
Walter Kane- Flute, Clarinet, Bassoon
Charles Russo- Clarinet, Bass Clarinet
**
01. Peg Leg (R.Carter) 8:04 
02. Sheila's Song (R.Carter) 6:14
03. Chapter XI (R.Carter) 5:41
04. Epistrophy (T.Monk) 6:05
05. My Ship (K.Weill) 5:12
06. Patchouli (R.Carter) 7:02
**
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