Ron Asmus

This beautiful, Latin-themed album by bass superpower Ron Carter almost can stand in as a Stephen Scott showcase, for the young pianist's verve and finesse are in evidence from start to finish. Carter reserves plenty of solo room (and a number of melody statements) for himself, however. Drummer Harvey Mason and percussionist Steve Kroon work together to create a luxurious, flowing Latin vibe that makes each tune a true listening pleasure. One highlight is the group's slow, polyrhythmic take on Jobim's "Corcovado." Another is a grooving version of Carter's "Loose Change," a tune that appeared in a very different light on Joe Henderson's State of the Tenor album. Scott woos with his bluesy delicacy on "Que Pasa," another Carter original, and swings exuberantly on fellow pianist Ray Bryant's "Cubano Chant"…

Houston Person is one of the last in a long line of thick-toned tenors who display soul in every note they play while bassist Ron Carter's versatility is legendary (it seems as if he has spent half of his life in recording studios). Their duet CD, although not inevitable, works out quite well. Carter not only sets the rhythms behind Person but sometimes plays chords (à la Count Basie guitarist Freddie Green) or the melody in unison with the tenor, continually keeping the music flowing in an unhurried and relaxed fashion. None of the selections (seven standards plus "Blues for Two") are taken faster than mid-tempo and Person has been chewing up these chord changes for years, so the main attractions of this date are the instrumentation and the strong interplay between Person and Carter. The results are both relaxed and successful.

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")…

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.

"Odds and Ends" is a diverse collection of unreleased material Ron Boots' entire career. One is an alternate, livelier version of Boots' track from the Hypnos collection "The Other World", while another is a live song from 1999.

The Classical Jazz Quartet Kenny Barron on piano, Ron Carter on bass, Stefon Harris on vibraphone and marimba, and Lewis Nash on drums seems to begin where the Modern Jazz Quartet of the 1950s left off, right down to the CJQ initials that seem to evoke memories of the earlier group. Bach was the staple of the classical-music treatments the MJQ released.

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.