Ron Asmus

One of bassist Ron Carter's better albums as a leader, this CTI LP features a very compact quartet comprised of tenor saxophonist Joe Henderson, pianist Roland Hanna (keyboardist Richard Tee sits in on one number), drummer Billy Cobham and Carter. All of the music (even the ballad "Will You Still Be Mine?") has a blues feeling although several are not really blues. However, the quality of the solos is high, and this date lives up to one's expectations.

In the 1980s, tenor saxophonist Houston Person and bassist Ron Carter recorded a pair of unlikely but successful duo albums. Person, who has mostly been heard through the years with organ groups, piano trios, and accompanying the late singer Etta Jones, has a large tone worthy of Gene Ammons, while Ron Carter (who has played with everyone) clearly had a good time interacting with Person in the sparse format. In 2000, Person and Carter recorded their third duet album, and the results are at least as rewarding as their first two collaborations. On such songs as "Doxy," "Dear Old Stockholm," "On the Sunny Side of the Street," and "Mack the Knife," Person and Carter swing hard and sound at their most playful and creative in each other's company…

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 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"…

An album of Ron Carter compositions always contains his unique mixture of sophistication and down-home musical wisdom. It is also likely to have, in addition to Carter's virtuoso bass playing, surprises and departures from his previous work. Half of Patrão is givenover to carter's love for Brazilian music, with Brazilian musicians helping him interpret their idiom. On both Brazilian tracks and the others, trumpeter Chet Baker is heard in some of his most lyrical work and, on "Trail Feathers," some of his happiest. Kenny Barron, who has graced so many Carter albums, is the pianist throughout. Jack DeJohnette plays drums.

Ron Carter's offering here is a solid program that has two Spanish-flavored numbers and two traditional jazz compositions that feature five top-caliber musicians at their best. "El Noche Sol" is influenced by Anadalucian folk music, as is the slower, soulful "Sabado Sombrero". Hubert Laws on flute is prominent on all four tracks and a highlight on the CD is the nifty solo work by drummer Billy Cobham on "So What". The final track, "Arkansas", so named for a child's homework project, closes out the album. The CD would have benefitted from the inclusion of a few more numbers but the music is enjoyable and illustrates the group's versatility in interpreting music forms different from what they were accustomed to playing.

"Moments" features 69 minutes of music originating from 1988. Two bonus tracks have been added. This time, the music possesses a more personal, human touch, as Boots captures significant memories with his heavenly electronic compositions. Romantic tenderness, whimsical impressions, sad losses, powerful accomplishments… he presents specific memories in a manner that transcends details, evoking similar events in all of our lives with this sentimental music.