Ron Asmus

This 1961 set has appeared under Eric Dolphy's name, but it is, in fact, bassist Ron Carter's date - his first as a leader. Carter and Dolphy had played together in Chico Hamilton's group and on Dolphy's important 1960 date Out There. Where? has elements in common with both, but is closer to Hamilton's late-'50s chamber jazz than to the more outward-bound Dolphy date. As on the Dolphy session, Carter is heard on cello for three of the six tracks. Carter's skill is undeniable, but his playing on Where? is a bit polite and monochromatic. The easygoing duet with George Duvivier, for example, is a quiet, back-porch conversation that makes few demands on either of these bass giants. Dolphy - playing bass clarinet, alto sax, and flute - is a far more interesting prospect, even if he doesn't blow his face off to the extent he did in other settings…

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 Flute master Hubert Laws takes a prominent role on several tracks, including the title cut with its funky but not outdated style, where he works in tandem with Carter's basslines.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…

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.

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.

Originally released in 1991 as Boots‘ second album, additional material (in the form of a 9 minute, previously unreleased track) has been added to this remastered 2002 reissue, bringing the total time to 74 minutes of luscious electronic ambience.
Besides offering a more primal glimpse into Boots‘ music, this release delivers a softer side of Boots‘ electronic styling. The compositions are moodier here, more rooted in the ambience of Steve Roach or Michael Stearns than the powerful epics of Boots‘ more recent works. And yet, Boots introduces his own elegance to these atmospheric soundscapes, injecting subtle power to this peaceful sonic domain…

Legendary trombonist and shell master Steve Turre’s SANYAS is amazingly his first live recording as a leader in landmark in a career spanning more than 50 years. Recorded over an electrifying weekend at Smoke Jazz Club, SANYAS boasts a dream all-star band that continues the mission of Turre’s previous Smoke Sessions release, GENERATIONS, in bringing together stellar artists from multiple generations. Turre is joined by elders in the form of the iconic rhythm section of bassist Buster Williams and drummer Lenny White; modern masters trumpeter Nicholas Payton and tenor saxophonist Ron Blake; and the rapidly rising star Isaiah J. Thompson on piano.