present tense (Emarcy 2008)

19 de julio de 2013 § Deja un comentario

JAMES CARTER… compositor y absoluto monstruo del saxo q comenzó su andadura con 17 años de la mano de Wynton Marsalis y poco después se incorporó a la banda de Lester Bowie, es capaz de interpretar con maestría lo q sea con una energía indescriptible (si no le ves en directo no lo puedes entender)… un salvaje con buenas maneras, versátil en todas las direcciones del jazz, acercándose con autoridad al blues, al funk a la clásica… soplando sin fin clarinetes, flautas , barítono, soprano y tenor. Tengo “marcados” un par de sus discos por la excelencia de la grabación y por algunos sonidos incomprensibles consecuencia de gestos y posturas en su “tocar” extravagante. Destacaré pour que ma vie demure acompañado por Dwigt Adamas a la trompeta, Eli Fountain congas y percusión y James Genus al bajo. LISTEN!

carter present

Algunas tomas exclusivas de Jose Horna en donde vemos a Carter… bien acompañadoJCarterHPL09_02 XXXIII Festival de Jazz de Vitoria-Gasteiz 2009Dee Dee Bridgewater JCarterVi09_03

Discos de mi colección particular…

carter gardenias

carter fashion carter conversin carter jurasic carter the real cartercarter organ
carter out

After Wynton Marsalis, no one caused more of an uproar than James Carter did when he appeared on the New York jazz scene from his native Detroit. Carter’s debut recording, JC on the Set, issued in Japan when he was only 23, and in the States a year later in 1993, was universally acclaimed as the finest debut by a saxophonist in decades. Critics lauded his ability to play in virtually any jazz style without appearing to ape anyone. Carter, who began playing at 11 and studied with trumpeter Marcus Belgrave, was a prodigy. He played and toured with Marsalis in 1986 at the age of 17 and became a member of Lester Bowie’s band upon relocating to New York in 1988. Carter issued no less than six recordings under his own name between 1993 and 2000, all of them with different focuses, from a set of standards, Conversin’ with the Elders in 1995, to an electric funk record, Layin’ in the Cut, to a simultaneously released set in tribute to Django Reinhardt, Chasin the Gypsy. Three years later, he honored the legendary Billie Holiday with Gardenias for Lady Day. Jumping ship from Columbia to Warner Bros., Carter’s Live at Baker’s Keyboard Lounge followed in spring 2004. Another live session, Out of Nowhere, was released in 2005 on the independent label Half Note. Carter has continued his whirlwind of activity, playing in sessions and on live settings with theLincoln Center Jazz Orchestra, Cyrus Chestnut, Rodney Whitaker, Frank Lowe, the late Julius Hemphill, pop-jazz singer Madeleine Peyroux, Ronald Shannon Jackson, Tough Young Tenors, and the Charles Mingus Big Band. In 2008, he released Present Tense on Universal Jazz. Carter followed that up a year later with the live album Heaven on Earth, featuring a jazz supergroup including, among others, organist John Medeski and bassist Christian McBride. In 2011, Carter delivered Caribbean Rhapsody, his collaboration with classical composer Roberto Sierra featuring the piece “Concerto for Saxophone and Orchestra.” He also reunited with his Organ Trio (with fellow Detroiters organist Gerard Gibbs and drummer Leonard King, Jr.) for a third album entitled At the Crossroads, which was released by Emarcy and produced by Michael Cuscuna.


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