Hank Jones & Ron Carter – Great Jazz in Kobe ’96 (1997)

Let's not mince words. Everything you want from a great jazz trio recording -electricity, pacing, innovation, dynamic virtuosity and interplay, flights of fancy and passion -are found in great abundance on Emmet Cohen's newest Master Legacy Series Volume 2.

In 2005 Roberta recorded the present duet album titled 'You Are There' with the legendary pianist Hank Jones. Mr. Jones, who accompanied most of the celebrated vocalists of 20th Century such as Ella Fitzgerald, Sarah Vaughan, Frank Sinatra, Peggy Lee, Carmen McRae and Nat King Cole, declared Roberta Gambarini to be the best singer to emerge in the last 60 years.

The strings vibrate gently. Accurate tone, unconditionally clear. And quietly. The longest ngers of jazz seem to dance weightlessly along the wooden bridge; yearning, ligree and elegant. No one else sounds like Ron Carter. His double bass often produces a crisp groove like an electric bass, yet it is always clearly de nable as the sound of a classical music instrument. Then the sound under the scorpion-like hands irresistibly swells. Payton Crossley gently caresses the cymbal, and Jimmy Green, the „new member“ on the tenor saxophone as well as pianist Renee Rosnes push the chorus onto the nely crocheted rhythm cover. “With us, nobody knows exactly what happens when,” Carter praised the Foursight Quartet‘s unique selling point. “This is precisely why every concert is a real challenge. We almost always play 35 to 40 minutes without a stop at the beginning. No breaks, just slight changes that show the beginning of a new song.

2 complete albums ("The Master Trio" and (Blues In The Closet") on 1 CD. Only previously available on 2 separate limited Japanese editions.
On June 16 & 17, 1983, three legendary instrumentalists recorded what would be their only collaboration as a unit. While the group's instrumentation consisted of a standard piano trio, the combination of Flanagan together with Carter and Williams was anything but standard. The studio sessions produced 14 tracks of superlative music - mostly modern jazz standards (including Rollins' "St.Thomas", Monk's "Misterioso", Davis' "Milestones", Dameron's "Good Bait" and many more great choices). The date also featured three classic standards as well as an original by each member of the trio.

Ron Carter's Uptown Conversation may very well be the most intriguing, challenging, and resonant statement of many he has made over the years as a leader. As a prelude to his funkier electric efforts for CTI and the wonderful dates for Milestone Records, where he emphasized the piccolo bass, these selections showcase Carter with unlikely partners in early creative improvised settings, a hint of R&B, and some of the hard-charging straight-ahead music that he is most well known for. Flute master Hubert Laws takes a prominent role on several tracks, including the title cut with its funky but not outdated style, where he works in tandem with Carter's basslines. On "R.J.," the short hard bop phrasings of Laws and Carter are peppy and brisk, but not clipped…