Piano Anna Rose Carter

James Carter is the Arturo Sandoval of the reeds, a remarkable virtuoso who can seemingly do anything he wants on his horns. It is just a matter of passing time and accomplishments accumulating before Carter is thought of as one of the all-time greats. This particular CD, In Carterian Fashion, differs from his earlier ones in that Carter (who switches between tenor, soprano and baritone sax, and bass clarinet) is joined by one of three organists (Henry Butler, Cyrus Chestnut and his regular pianist Craig Taborn) instead of piano, which of course changes the sound of the ensembles. However, only a few of the songs come across as Jimmy Smith-style soul-jazz…

Near the beginning of his career, Michel Legrand was primarily known as a jazz pianist, so it shouldn't be surprising to learn that none of his compositions are present on these 1959 studio sessions, which were issued by Phillips. With bassist Guy Pederson and drummer Gus Wallez, Legrand covers songs by French composers of the day along with the ever-popular "Moulin Rouge" and a somewhat upbeat arrangement of Edith Piaf's usually maudlin "La Vie en Rose," as well as standards from the Great American Songbook by Cole Porter, Jerome Kern, Vernon Duke, and Mack Gordon. Most of the songs have a Parisian theme to them. Legrand's piano style is hard to define, as he shows a variety of influences without letting any of them overwhelm his sound…

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.

The four works that this album brings together are among the most beautiful of the French repertoire for violin. In the last decades of the 19th century, a new kind of music emerged in France that revisited French culture and tradition. For until then, the German classics and romantics had dominated the concert halls of France. Works by French composers were rarely performed. Saint-Saëns recalled in retrospect, "It was not long ago […] when […] the name of a French composer, a living one at that, was enough to scare the whole world away." The lost Franco-Prussian War of 1870 was the impetus for a new orientation. Now the "Grande Nation" had to prove itself anew and find a new self-image. People looked back to their own traditions and wanted to revive French music. To this end, several composers founded the "Société nationale de musique". Among the founding members were Camille Saint-Saëns, César Franck and Gabriel Fauré. Under the motto "Ars gallica," this society was to promote and disseminate French music. It was to be music that combined German profundity with French charm and esprit.

Dramatic secular cantatas from the early Italian Baroque, revived for the first time in the modern age by an acclaimed and enterprising early-music ensemble.

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"…

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"…