Carter Wilson

Benny Carter, like Coleman Hawkins, spent the '40s rubbing shoulders with bebop's young Turks, while mostly maintaining the style he forged during the early jazz and swing years. Possibly, like Hawkins again, Carter's '30s stay in Europe opened him up to the progressive nature of jazz and the necessity of always taking advantage of the music's complexities and malleability. And while Carter didn't ape Charlie Parker's alto flights or become a fixture at Minton's Playhouse, he did head up some fine big bands that featured the likes of Miles Davis, Dexter Gordon, J.J. Johnson, Max Roach, and Howard McGhee, to name a few bebop figures…

Pursuing a similar path to one taken by Coleman Hawkins, Benny Carter followed up a bountiful start during the early jazz and nascent big band years with an ex-pat stay in Europe. In addition to heading up the BBC Dance Orchestra, Carter recorded several big band and combo sides throughout the continent. Upon his return to the U.S. in 1938, he formed another big band in New York, eventually moved to the West Coast, and continued leading both large and small groups. This Classics disc takes up the story upon Carter's L.A. arrival in 1943 and covers the first three years of his still-ongoing residency in the south land…

Benny Carter - Harlem Renaissance (1992) {2CD Set MusicMasters Jazz}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 561 Mb | MP3 @320 -> 247 Mb
Full Artwork @ 300 dpi (jpg) -> 70 Mb | 5% repair rar
© 1992 MusicMasters Jazz | 01612-65080-2
Jazz / Jazz Blues / Big Band / Mainstream Jazz / Saxophone

Benny Carter is a true marvel. At the time of this recording (a double CD), the classic altoist was already age 84, yet showed no signs of slowing down either his playing or his writing schedule. For his specially assembled big band and The Rutgers University Orchestra (which includes a full string section), Carter wrote entirely new arrangements that demonstrate that his talents have not diminished with age. While the first disc mostly sticks to older material, the second disc is comprised of two new suites "Tales of the Rising Sun" and "Harlem Renaissance." In addition, Carter's alto is often the solo star although he does not hog the spotlight; it just naturally drifts back to him.

Singer Cassandra Wilson, who has had a rather diverse career that has ranged from the free funk of M-Base to standards à la Betty Carter, has in recent times adopted a folk-oriented style a little reminiscent of Nina Simone. On New Moon Daughter her repertoire ranges from U2 to Son House, from Hoagy Carmichael to Hank Williams ("I'm So Lonesome I Could Cry"); it is certainly the only album ever that contains both the Monkees' "Last Train to Clarksville" and "Strange Fruit." This CD is a surprise best-seller, for Wilson's voice actually sounds quite bored and emotionally detached. She deserves great credit for stretching herself, but one has to dig deep to find any warmth in her overly cool approach.

Jazz fans who complain about not hearing enough jazz in Cassandra Wilson's eclectic sound, which has increasingly tilted toward pop and blues, will find ample rewards in this collection of her (relatively) straight-ahead efforts from the late '80s. Drawing from four albums for the JMT label, it charts her steady growth away from Brooklyn's electric, funk-based M-Base school and into an earthier, more personal approach.

This exciting CD has 20 diverse performances that were originally produced by Leonard Feather for the Victor label during 1946-47. The first eight selections feature various versions of Esquire's All-American Award Winners and have some unique combinations of musicians. "Long Long Journey" was the first record to match together Duke Ellington (who verbally introduces the song) and Louis Armstrong, and on "Snafu" Armstrong takes a surprisingly modern solo that hints at bebop. Trumpeter Charlie Shavers creates a remarkable improvisation on "The One That Got Away," ltoist Johnny Hodges plays beautifully on "Gone with the Wind" and other key players include tenor saxophonist Don Byas, trumpeter Buck Clayton, trombonist J.J. Johnson and tenor saxophonist Coleman Hawkins. In addition, there are selections featuring trombonist Jack Teagarden, the 52nd Street All-Stars (with Shavers, Hawkins and tenorman Allan Eager), the tenor of Lucky Thompson, trumpeter Neal Hefti, altoist Benny Carter, singer Mildred Bailey and solo piano records by Art Tatum and Erroll Garner. The mid-to-late '40s were a particularly rich period for jazz and this highly recommended CD is filled with gems.

It's a beautiful, impressionistic tribute to Miles Davis which extends Wilson's eclectic "folk jazz" approach, itself owing a great deal to Miles' 80s music. Wilson, as producer, should take much of the credit for the coherence of vision. The quintet behind her on Resurrection Blues is entirely different to the one on the following track, Sky and Sea - but the tracks fit together like fine joinery. The core band and all of the guests are superb, as is the production. Everything is crystal clear, but warm.