Customer Reviews

Layin' In The Cut

5 star:		(8)
4 star:		(2)
3 star:		(3)
2 star:		(0)
1 star:		(0)

 

 

Just when you thought fusion jazz had run out of steam, along comes the irrepressible James Carter breathing new life into the tired old genre. This is the best jazz in a fusion vein I have encountered since Miles did Jack Johnson way back in 1970. Carter blows hard and heavy on seven funkified tracks with the able accompanyment of Jef Lee Johnson and Marc Ribot on electric guitars, G. Calvin Weston on drums, and the nearly forgotten wondrous Jamaaladeen Tacuma on electric bass. Released in 2000 simultaneously with his Chasin' The Gypsy cd, Carter again showed how wonderfully eclectic he is. In an era when music is increasingly of the cookie cutter variety, Carter refuses to be restricted and is ubiquitous in his range of musical expression. Five stars to the most distinct and emphatic voice in modern jazz today for this top notch offering of classic jazz fusion.

This is a fine funky album on its own terms, but one that fails to live up to its potential. With the amazing 2-guitar line-up I was expecting harmolodic fireworks, but instead found a surprisingly low-key set. Here are the band's harmolodic credentials: Tacuma played in Ornette's original Prime Time band, Weston played with a late '80s version of same, Johnson has been a member of Ronald Shannon Jackson's Decoding Society through the '90s -- Jackson the original Prime Time drummer -- and, Carter played on Jackson's WHAT SPIRIT SAY, released by DIW.

This project is an odd combination -- from the cover photo you might expect a smooth Grover Washington Jr.-style groove, but you'd be wrong -- its' a little too wild for that. But it never rises up in wild abandon either -- Ribot and Johnson are never unleashed. (Chip Stern to the contrary, there is nothing remotely boppish here, let alone "super-boppish," and nothing that sounds like Hendrix either.) Carter plays bari on "Motown," and soprano on "Requiem" and "Terminal B," otherwise sticking to tenor. His playing is engaging, but more subdued than we've come to expect, most recently on the superb "In Carterian Fashion." Johnson's "Terminal B" is the track that sounds most harmolodic -- a Decoding Society shuffle. Carter's "Paddle" also gets up out of the groove.

But the best tracks are laid-back, smoky grooves -- "Requiem" and "Drafadelic." That turns out to be the forte of this set. As long as you realize that, and are prepared for the first and last tracks being the weakest, you can appreciate this for what it is, and hope that now these cats have got to know each other, the next time they can really go at it!

At this very moment I am listening to this brand new James Carter album. I will admit that I haven't had too much experience with Carter, but I do love his album "In Carterian Fashion." But my god, when I saw this lineup I could not pass it up...Marc Ribot, Jamaaladeen Tacuma, Calvin Weston, and Jef Lee Johnson! An amazing electric album, and Carter fits in so well. The ideas are simple, yet these guys take the simple and turn it into some amazing improvisational output. Ribot sounds outstanding, he gets better every time I hear him! And overall this album is just superb if you dig improvisational groove...nowhere does the album get boring, it is constantly fresh, moving and inventive.

People are always telling me that joshua redman is the best young hornman around. Please! Listen to this CD and get back to me. Mr. Carter just put out two CD's, although quantity isn't the remarkable thing about it. One CD is a tribute to Django...by a sax player....and yes, he pulls it off ( go buy it, its called Chasin the Gypsy). That's how damn good he can blow. This may be the best jazz album you hear in a long time. It's jazz-fusion-harmolodic-blues-freeimprov that can't be stopped. He's got some incredible sidemen that turn in some great performances. Weston/Tacuma take up the drums/bass, and you've got two guitars with Ribot/Johnson. Ribot has never sounded more fleet fingered and Johnson more assure. Weston is a former Ulmer drummer and Tacuma played with Ornette. James Carter can blow like noone else. What can't this guy do? He might just be the most talented,gifted musician of the current age. This is a great jazz CD if you like funky,bluesy,harmolodic,freejazz by one great group of musicians. Also/Otherwise checkout, Jurassic Classics, or In Carterian fashion, or Conversin with the elders, or Chasin the Gyspsy, or the real quietstorm....you won't regret it.

At this very moment I am listening to this brand new James Carter album. I will admit that I haven't had too much experience with Carter, but I do love his album "In Carterian Fashion." But my god, when I saw this lineup I could not pass it up...Marc Ribot, Jamaaladeen Tacuma, Calvin Weston, and Jef Lee Johnson! An amazing electric album, and Carter fits in so well. The ideas are simple, yet these guys take the simple and turn it into some amazing improvisational output. Ribot sounds outstanding, he gets better every time I hear him! And overall this album is just superb if you dig improvisational groove...nowhere does the album get boring, it is constantly fresh, moving and inventive.

I bought this album because I am a Marc Ribot fan. Okay, Ribot is his usual incredible self on this recording, and didn't let me down.

Yet, Ribot is by no means a stand out. No one is. The band here is incredibly tight. It seems like these guys have played together for at least twenty years. Carter is an incredible sax man, maybe even the best in the business after hearing this. This is excellent musicianship on ALL levels.

There's not a lame cut on this CD. I actually felt bad this wasn't a 2-disc set when I heard it. These guys should put together more stuff. It's that good.

I view this as a MUST BUY! It is by far the best music put out this year. Okay, that's my opinion, but listen to it, and see if you can argue with me......

Let's settle things right from the start. James Carter is a brilliant musician. This recording holds promise but falls short. Carter's ensemble may look like the groundbreaking Prime Time band of Ornette Colemen, but he is unwilling--in the end--to follow through with the funkified harmolodics championed by Coleman. Mind you, there are extrordinary solos by Carter on this recording, and his facility with his instruments is evident throughout. But unlike Coleman's recordings which they resemble, Carter's electrofunk is pretty conventional and doesn't hold up on repeated listenings. Chasing the Gypsy, Jurassic Classics and other Carter recordings are more interesting.

Jazz has had no new perspective on funk for 15 years. Along comes James Carter to make sax sound new, and get jazz and funk allied again and fired up. This is an album not of virtuosity but of fresh ideas. James gives us hope for new grooves, so dig in.

There is al lot of fuzz about Carter being a technical arteficial over-talented cat, with no warmth of tone nor making any connection with the listener. Well, friends, listen up to his Layin-cut album and judge for yourself. I do hear enthousiasm, musicality, great joy and for all wunderfull saxes.

The album does remind me of the mid-eighties Miles albums (especially The Man The Horn). The combination of rock and jazz, the importance and solo's of the electric guitar.

But James Carter goes one step further: he introduces a second electric guitar, and gradually developes his compositions into a mindblowing jamming.

And so what if he shows his technical ability? His music is convincing to me anyway, and I guess it will be convincing to you to.

this cd is a blindfold test for listeners: james carter is listed as playing 'all horns'. while guessing which saxophone he's playing on each track, you can get lost in the rhythm and blues, funk, free jazz, style of carter.

this time there are no trumpet, piano, or organ. there are two electric guitar players and a double bass player, along with a drummer-a lineup cassandra wilson might use.

the selections are originals, written by carter alone or in collaboration with the group members.