Search - James Carter :: Live At Baker's Keyboard Lounge

Continuing a trend of disappointing releases

Jan P. Dennis | Monument, CO USA | 04/18/2004

(4 out of 5 stars)

"James Carter certainly has the chops. From the standpoint of mere technique, he's probably the most prodigiously gifted sax player alive. A triple threat on soprano, tenor, and baritone sax--with his soprano playing perhaps the most astounding (check out his incredible solo on "Tricotism" where he sounds like he's channeling David Murray's tenor two octaves higher) although he's quite a bari player too, with tenor probably being his weakest horn--he might even be the greatest multi-horn player in the history of jazz.What's wrong with that? Nothing, as far as it goes. I just find that, despite the fact that I own a handful of discs featuring him as leader, I hardly if ever pull any one of them out to play. This present disc will likely end up with a similar fate. Yes, it cooks like mad, yes he has mastered almost the entire range of jazz styles--everything from pure bebop ("Tricotism") wicked soul-jazz ("Sack Full of Dreams" and "Soul Street," showcasing not only some mighty tasty playing from him and guest David Murray but also some madcap wordless vocals) to jazz-funk ("Freedom Jazz Dance," on which he out-David Murrays David Murray) to gorgeous balladry ("I Can't Get Started," "Low Flame") to neo-swing ("Free and Easy,") to jazz-blues ("Foot Pattin'")--yes he sure knows how to turn on a crowd. It's all very stylishly presented, impeccably played, soulful-seeming--and empty.Where's the res?Sadly lacking.Bottom line, I think maybe he's one of those cats who's so talented that he's having trouble finding a distinct voice. When you can play any three horns better than 99% of sax players play one, it could present a significant problem if careful attention is not paid to achieving complete mastery and a singular voice on one. My opinion? He should quit the multi-instrumental showboating and crowd pleasing, drop out for a year or four, and concentrate on one horn, preferably soprano. Who knows, maybe he'll emerge as the next Steve Lacy.Otherwise, he might just sink into obscurity, jack of all horns and master of none. More like 3 and 1/2 stars."

This Cat Is Awesome

michael johnson | Jacksonville, Florida | 06/30/2004

(5 out of 5 stars)

"While I lack the musical expertise of most of the reviewers here, I do know what moves me musically. With that said, this was a very enjoyable listening experience. Thanks James.....continue making music that even knuckleheads like me can enjoy."

Dragging the rest of the craft up...

David Tamburello | Michissipi | 10/10/2007

(5 out of 5 stars)

"Artistic expression spirals up as greater and greater facility with the medium of expression provides new aesthetic experiences on unchanging emotional constants like love, loss and happiness.



James isn't showboating, he's just moving everything up and making a lot of people uncomfortable in the process. He can do more with the horn than anybody else out there, and isn't afraid to make use of it all in his solos. He may be saying something the references back to playing jazz, or playing that blues chorus for the billionth time or trying out things that saxophones can't usually do while trading 4s with a violin, but he's always expressing, and doing so on the next level. When you bring new tools, there is going to be a new aesthetic, and the old guard will grouch about it until the pain this new development has applied to their ego subsides.



There is a tension between artistic expression and technical/structural complexity. I can emote with a single note, but I still value the exquisite intricacy of a fugue. James throwing in multi-phonics, tongue-pops and entire chorusses in the upper registers is usually derided as a bag of cheap tricks, but listen carefully, and you'll find new levels of expression. You'll find subtlety in what you are labelling crassness. Maybe you can't hear it, but that doesn't mean the emporer has no clothes, it means you need to brush up on your Bechet, Hawkins, Young, Coltrane etc.



James has played more music than any of his listeners ever will, and the experience shows in his attitude at times and the minute detail all the time. If you want to be comfortable, go listen to Joshua Redman. If you want to catch the real innovation happening right now, you have to be listening to James. Over and over.



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