1 3 Ron Carter

Saxophonist Houston Person and bassist Ron Carter have a duo partnership that goes back at least as far as their two 1990 recordings, Something in Common and Now's the Time! Since those albums, the legendary artists have released several more duo collaborations, each one a thoughtful and minimalist production showcasing their masterful command of jazz standards, blues, and bop. The duo's 2016 effort, the aptly titled Chemistry, is no exception and once again finds Person and Carter communing over a well-curated set of jazz standards. As on their previous albums, Chemistry is a deceptively simple conceit; just two jazz journeymen playing conversational duets on well-known jazz songs.

They could make it a lot easier for themselves, especially at their age and with their reputation. Play something so that people identify with them: easy-listening, swinging mainstream, or flowing music in the sound of musette. However, whoever knows the two partners in crime know only too well that they have searched for risks during their lives like adrenaline junkies, never approached the adventure of music from the safe side, but instead always wanted to go beyond their own horizon. Like two intrepid mountaineers, they balance over a yawning abyss, perform daring maneuvers and clear the way for each other time and again.

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.

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.

The all-star rhythm section for the former Miles Davis Quintet is represented here in a trio format. Herbie Hancock's piano playing is excellent, Tony Williams provides a good albeit gentle backdrop on the drums, but the real focus is Ron Carter's superb bass playing, in all of it's gooey grandeur. Ron Carter reeeaaallly shines on this album, his playing is the main focus of the session & every minute of listening time is to that of an acoustic bass virtuoso! Ron Carter on this date does not at all play electric but rather shows off his great chops on a contrabass with a sterling supportive cast.

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.

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"…

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.