Customer Reviews

Out of Nowhere

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

 

 

While James Carter is tentatively still signed to Columbia Records, this live set recorded for Half Note Records at the Blue Note in NYC lacks the sort of programmatic set list that major labels seem so intent on saddling jazz artists with nowadays. This appears to be a fairly standard set list for Carter's organ trio; standards, ballads, blues, and pop songs all used as springboards for extended improvisation. "Out of Nowhere" is akin to a classic post-war blowing session and so lacks the sort of complex writing that most of Carter's generation seems intent on exploring. As such, it places him in a far more traditional context, content to play it loose and easy, unconcerned with modulated time signatures, intricate harmonies, and interweaving charts. Of course, it helps that he's a hell of a soloist. Proficient on his numerous horns at a level that sometimes seems super-human, Carter has at his disposal an arsenal of technique that puts most of his contemporaries to shame.

Ironically, Carter's greatest asset is also his greatest liability. In the studio, Carter's solos are obviously edited. The thematic concept albums that hamstring lesser artists often seem to help focus Carter's boundless spirit and enthusiasm. Without this sort of structure Carter just goes and goes and goes. Hearing this recent recording reminds me of having seen him live in the past, as he follows much the same pattern here.

Carter has a tendency to showboat live. This is a criticism often levied against him, unfortunately, somewhat justified. Although capable of an astonishing number of extended techniques and adept at a myriad of styles, he seems unwilling to edit himself in a live situation. Whether caught up in the moment or simply wanting to push himself further, each solo follows a similar pattern, with the same ferocity and humor that the previous one contained. Not bad for a tune or two, but for an entire set, it makes for a repetitive listen. Fortunately, on the opening ballad, the album's title track, Carter stays within the confines of the piece and delivers a sultry and subtle solo free of histrionics.

Carter's rhythm section is more than capable and is not as rigid as some of his previous sidemen have been. Legendary baritone saxophonist Hamiet Bluiett and Harmolodic guitarist James Blood Ulmer guest star on this freewheeling set. Ulmer contributes to two tracks. His solo on his terse, funky "Highjack" is a delightful blast of wah-wah inspired madness. Carter's baritone solo here begins somewhat restrained until Bluiett arrives and the two of them take their dovetailing solos out into the stratosphere, again and again. "Little Red Rooster" is played straight, as a short conventional blues and ultimately sounds like filler.

Bluiett contributes his own "Song for Camille," a beautiful ballad that is slightly reigned in and also helps drive along the unlikely cover of R. Kelly's "I Believe I Can Fly." A simple exercise in repeated chord structures, the dueling baritones attempt to get air under this limp melody, only to have it coast on an undercurrent of repetition. Not all modern pop songs make for great jazz covers, and this is a case in point. Carter even pulls out his trademark percussive slap tongue on an unaccompanied duet with Bluiett towards the conclusion of the piece, but even that feels tired.

For Carter devotees, this will be an entertaining listen, especially for those unaccustomed to the man's unfettered live playing. On the next studio release hopefully someone will give Carter the same advice Miles once gave to Coltrane:

Coltrane asked Miles how he could bring his solos to a close, feeling that there were too many ideas bubbling up inside him: Miles's suggestion was "take the goddamn horn out of your mouth"...

This is probably a four star CD, but I'm giving it five in order to compensate for all the critics of James Carter who don't seem to know what they are listening to.

This is JAZZ, which, my friends, is built on the tradition of individual virtuosity, spontaneity, free improvisation and group interplay ("blowin'," "chops," "blowin' sessions," "jam sessions," "saxophone duels," "trading fours," etc.) One-upmanship and proving your chops have always been essential aspects of jazz improvisation. Louis Armstrong, Dizzie Gillespie, Charlie Parker, Bud Powell, Sonny Rollins, etc., etc., etc. were all show-offs and exhibitionists (and all the other names that are intended as insults to Carter).

Now everyone agrees that Carter is the most talented and virtuosic jazz performer alive today, but somehow this isn't good enough. It's not enough for him to be the Louis Armstrong of our generation, but he has to be the Duke Ellington and Billy Strayhorn as well.

The objection that Carter lacks a unified and coherent style or musical sensibility strikes me as both hollow (lack of unity and coherence IS his style) and, in a postmodern world, dated. And to those who cite a lack of feeling and emotion in his playing, I'm not sure what to say to such vague and subjective criticisms, other than that they might be confused by the wide range of feeling in his playing.

I know that as the popularity of jazz has plumetted it has had to borrow liberally from rock, soul, funk, hip-hop, pop, easy listening, etc. And nowadays "serious" jazz fans expect jazz to have lots of complex rhythmic and harmonic stuff going on that is borrowed from "art" music (i.e., contemporary manifestations of the European classical tradition). Sometimes this makes for good jazz; sometimes not.

But as for me, straight jazz is still good enough, and Carter's playing is plenty good enough. Not every song in this set is a gem, to be sure, but "Highjacked" alone is worth the price of the CD. Let's all relax and consider ourselves lucky to have such a prodigious talent around making music, instead of trying to pigeonhole him. I saw on reviewer even suggest that Carter take some time off for woodshedding, and limit himself to playing one horn - that would be a tragedy.

When I saw that Carter released a new CD, I was quite excited and quickly snatched it up. Unfortuantely, Carter spends the entire album flaunting his skills by constantly screeching his horn, popping the reed, and all other assortments that, by themselves, give a solo an added touch, but when together as a complete solo, just make it disgusting.

Though I still really enjoy James Carter as a musician, I feel like he could have done much better. Carter really disapointed me here. Instead of spending the album showing off to his audience, he needed to just concentrate on making music.

I've been suckered into purchasing my last James Carter record. Whenever I discover he's come out with a new disc, I think to myself, "Maybe this will be the one where talent matches up with musicality," and I snatch up the sucker.

But I swear, never again. His shtick has worn too thin. I can only take so much blatant showboating, such crass, unrelenting rub-your-face-in-it chops-purveyance before I start to get disgusted. So what if he's technically the greatest player alive on not one, not two, but THREE different saxes--soprano, tenor, and bari? Does that make great music?

No.

Or even listenable music?

Again, no.

What it makes is annoying grandstanding of the Terrell Owens or Randy Moss type. Seldom has such prodigal talent issued forth in such scant results. It's abundantly clear that this man cares nothing about musical integrity. All he's looking for is a context to shred, which he does, admittedly better than anyone on the planet.

If that's your bag, fine. You'll love this disc. But if you want to hear REAL music, you'll look elsewhere. More like about **1/2.