1 3 Ron Carter

Guitarist Greg Skaff assembles a masterful trio with bassist Ron Carter and drummer Albert "Tootie" Health, two NEA Jazz Masters for this rewarding set. Well-known for his work with soul jazz legends and with groups based around the Hammond B-3 organ, this date is surprisingly Skaff's first recording in the past 30+ years leading a guitar trio alone without piano or organ. It's also special set for the legendary reunion of Carter and Heath who worked together with history making results in the early 60s on landmark recordings by pianist Bobby Timmons and by guitarist Wes Montgomery. But, they have collaborated only once since. Skaff takes full advantage of this moment delivering an album all three are immensely proud of.

All Alone is a solo album by bassist Ron Carter recorded in 1988 and released on the EmArcy label.
Although it is hard to believe that only one man at one time made all of the sounds you hear on this recording, it is true nevertheless. And even more impressive, all of this music was recorded in a single three hour session.

Carter’s backing band here included young and youngish players like pianist Kenny Barron, drummer Lewis Nash and flute player Hubert Laws, along with four cellists and a harpsichord player. The selections move from the half-expected (Lewis’ stuff, and a couple of Carter originals), to the truly invigorating - like "Vocalise" from Rachmoninoff, "Prelude No. 4 in E Minor" by Chopin and Eric Satie’s "Gymnopedie." Carter, as always, plays with atmosphere, and restaint - though he is never boring. On "Friends," Carter presides over a far more delicate enterprise, and his playing matches that depth: he improvises in ways both impressionistic and intelligent, lyrical yet frank. It makes for one of the more challenging, yet strangely familiar recordings in the Davis-related canon. Jazz devotees will find a smooth passage into the classical genre, yet Carter’s legendary sophistication helps provide a new and invigorating take on these ages-old orchestations.

The epitome of class and elegance without the stuffiness, Ron Carter has been a world-class bassist and cellist since the '60s. He's among the greatest accompanists of all time, and has made many albums exhibiting his prodigious technique. Carter is a brilliant rhythmic and melodic player who uses everything in his bass and cello arsenal: walking lines; thick, full, prominent notes and tones; drones and strumming effects; and melody snippets. His bowed solos are almost as impressive as those done with his fingers. Carter has been featured in clothing, instrument, and pipe advertisements; he's close to being the bass equivalent of a Duke Ellington in his mix of musical and extra-musical interests. Carter is nearly as accomplished in classical music as jazz, and has performed with symphony orchestras all over the world…

This special PBS soundtrack includes live recordings filmed at the Newport Jazz Festival for Ron's classic piece SOFT WINDS; a surprise bass duet session at The National Jazz Museum in Harlem with the enigmatic Christian McBride on WILLOW WEEP FOR ME; a session at the Blue Note with guitarist Bill Frisell on MY MAN'S GONE NOW; the first live performance of the two great bassists, Stanley Clarke and Ron playing BAG'S GROOVE, also at the Blue Note; and a joyful version of SWEET LORRAINE featuring Jon Batiste, released here for the first time.

Neither extravagantly experimental nor conservative, The Golden Striker presents a befittingly mature, somewhat brooding collection of tunes. Working within a guitar trio format with pianist Mulgrew Miller and guitarist Russell Malone, Carter offers nine tracks which include four of his own compositions, as well as one each by his band-mates. In order to emulate a "club" atmosphere, Carter, Miller and Malone recorded with little rehearsal, and with two exceptions layed down each tune on first takes. Executed with a refined attention to detail, the album as a whole presents solid musicianship and the blending of three well-matched yet distinct voices. Malone’s guitar sings soft, astute lines that play gracefully against Carter’s resonate, warm bass and Miller’s often almost classically melodic approach. With the unfortunate exception of missteps, "The Golden Striker" and "A Quick Sketch," all the album’s selections offer subtle readings of quite difficult arrangements.

Houston Person is one of the last in a long line of thick-toned tenors who display soul in every note they play while bassist Ron Carter's versatility is legendary (it seems as if he has spent half of his life in recording studios). Their duet CD, although not inevitable, works out quite well. Carter not only sets the rhythms behind Person but sometimes plays chords (à la Count Basie guitarist Freddie Green) or the melody in unison with the tenor, continually keeping the music flowing in an unhurried and relaxed fashion. None of the selections (seven standards plus "Blues for Two") are taken faster than mid-tempo and Person has been chewing up these chord changes for years, so the main attractions of this date are the instrumentation and the strong interplay between Person and Carter. The results are both relaxed and successful.

Ron Carter's recordings as a leader have varied in shape and style, from his contemporary commercial CTI recordings, his Milestone LP's emphasizing the piccolo bass, more symphonic efforts, and straight-ahead efforts such as this one. With the extraordinary Kenny Barron at the piano and drummer Lewis Nash, Carter plays standards and four of his originals that all fall snugly into the modern mainstream of jazz. It's a relatively laid-back affair, as Barron's potential energy is for the most part subdued, while Nash and Carter lock in on a cooperative mindset. In lieu of balance, the pianist tenderly wafts through a ballad version of "My Foolish Heart," leads out quaintly on "You'd Be So Nice to Come Home To," and springs along happily during the Randy Weston evergreen "Hi-Fly"…

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"…