1 3 Ron Carter

Ever since Charlie "Bird" Parker recorded his first Charlie Parker With Strings sessions in 1949 and 1950, jazz artists have hoped to enjoy the backing of lush string orchestras. But most will never get the chance because of the expense; it's a lot easier to pay four or five musicians than 15, 20, or 25. Ron Carter, however, did fulfill that dream in the late '70s and early '80s - first on 1978's Pick 'Em, then on 1981's Super Strings. In 2001, Fantasy reissued those Milestone dates back to back on this 78-minute CD. Typically, a jazz-with-strings project will emphasize overdone standards, but Carter's own material dominates this CD; the only tunes that he didn't write are Gordon Parks' "Don't Misunderstand" and Miles Davis' "All Blues." Carter's composing is solid throughout, and the material he provides ranges from introspective ballads ("Tranquil," "Opus 2") to a funky, gospel-minded offering ("Uptown Conversation")…

Peg Leg is an album by jazz bassist Ron Carter, originally released on LP in 1978. It was recorded in November 1977 and prominently features Carter on piccolo bass. Often carrying the melody the instrument is a focus of 3 of the albums 6 tracks, while fellow bass player Buster Williams performs the conventional role of the instrument on those tracks. The rhythm section is completed by piano and percussion (on all but 1 track), and guitar on 4 tracks. The standard jazz-ensemble is further augmented, on all 6 tracks, by woodwinds.

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.

The great Ron Carter continues his intermittent love affair with Brazilian music, joined by a somewhat unlikely cast of characters. Guitarist Bill Frisell delivers yet another of his superb sideman performances, including a pinpoint harmonic dissection of "Goin' Home," Carter's bossa nova adaptation of Dvorak's "New World Symphony." The sonic blend of Frisell's guitar, Houston Person's tenor saxophone, and Stephen Scott's piano is consistently delightful, especially on the melody of Carter's "Por-Do-Sol." All three soloists turn in excellent performances on the three remaining Carter originals, "Saudade," "Obrigado," and "1:17 Special," as well as two Luiz Bonfa tunes from the film Black Orpheus, "Manha de Carnaval" and "Samba de Orfeu"…

An album of Ron Carter compositions always contains his unique mixture of sophistication and down-home musical wisdom. It is also likely to have, in addition to Carter's virtuoso bass playing, surprises and departures from his previous work. Half of Patrão is givenover to carter's love for Brazilian music, with Brazilian musicians helping him interpret their idiom. On both Brazilian tracks and the others, trumpeter Chet Baker is heard in some of his most lyrical work and, on "Trail Feathers," some of his happiest. Kenny Barron, who has graced so many Carter albums, is the pianist throughout. Jack DeJohnette plays drums.

Ron Carter's offering here is a solid program that has two Spanish-flavored numbers and two traditional jazz compositions that feature five top-caliber musicians at their best. "El Noche Sol" is influenced by Anadalucian folk music, as is the slower, soulful "Sabado Sombrero". Hubert Laws on flute is prominent on all four tracks and a highlight on the CD is the nifty solo work by drummer Billy Cobham on "So What". The final track, "Arkansas", so named for a child's homework project, closes out the album. The CD would have benefitted from the inclusion of a few more numbers but the music is enjoyable and illustrates the group's versatility in interpreting music forms different from what they were accustomed to playing.

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.

Saxophonist WAYNE ESCOFFERY reflects on love, loss, and solitude on his stunning new album, the atmospheric and haunting, ALONE, featuring a remarkable all-star quartet with Gerald Clayton, Ron Carter & Carl Allen.

Immediately, Houston Person's saxophone and Ron Carter's bass meld so fluidly and effortlessly - and create such a complete picture - that it's easy to forget that they are the only two musicians playing. Drums are not missed, nor are piano, horns, or anything else: Person and Carter's communication skills here, as on their previous outings together, are never in doubt; they're "always" in perfect sync. They take on the standards here, and though most of these ten tracks have been recorded to death by other jazz artists, the duo's approach is original and honest enough that the songs sound fresh. "Lover Man (Oh Where Can You Be?)" is smooth, soft, and sexy; Irving Berlin's "Always" swings even if it never quite reaches swing tempo; and "Blueberry Hill" is playful and sweet…