In the 1960s and 1970s, few bassists were as ubiquitous as Ron Carter, from the experimental post/free bop of trumpeter Miles Davis's 1960s quintet to straight-ahead swing with guitarist Kenny Burrell and the greater extremes of saxophonist Archie Shepp. With the emergence of CTI Records, Carter became something of a house bassist for the label; on the recent four-CD retrospective box that launched CTI Masterworks, 2010's CTI RecordsThe Cool Revolution, the bassist appears on no less than 29 of its 39 tracks.
Given his wide-ranging musical interests, Carter's discography as a solo artist remains more than a little curiouslargely right down the middle, though he does place himself in a more prominent position as a soloist and melodist. The introduction of his piccolo bassa smaller upright that, tuned a fourth higher than its lower cousin and, thus, sitting somewhere between double-bass and cello giving him an instrument capable of taking the lead and remaining undeniably a bass, while occupying a range more appealing to ears of a larger listening public that often had trouble hearing the lyricism of the original low-end instrument. Carter introduced the piccolo bass on Blues Farm, his 1973 CTI debut, but that more pasteurized date was far less successful than its follow-up, All Blues, just a few months later.
Rather than working with the larger cast of characters he did on Blues Farm, Carter sticks with a small core ensemble. Drummer Billy Cobhamhimself a somewhat ubiquitous presence on the labelwas proving already himself as versatile and far-reaching as Carter, though this particular session is as mainstream as it gets, with Cobham demonstrating a grace and elegance unexpected from the powerhouse fusion drummer of the original Mahavishnu Orchestra.
Still, mainstream needn't imply that this mix of four Carter originals, Miles Davis' iconic title track, and one standard, "Will You Still Be Mine?," is anything resembling safe, as Carter delivers the Matt Dennis/Tom Adair/Paul Weirick chestnut as an overdubbed bass/piccolo bass feature, closing the album on an unexpected note.
While pianists like Herbie Hancock brought a combination of impressionistic flair and propulsive funk to his CTI dates, and Bob James began his trip down a road to the smooth jazz of later years with Fourplay, Sir Roland Hanna brought a firmer sense of tradition to the relatively few CTI sessions on which he participated. Swinging hard on Carter's opening "A Feeling" with characteristic economy, his a capella intro to the bassist's balladic "Light Blue" is the epitome of simple truth; his touch and subtle dynamics more definitive than embellishment and bravado could ever be.
The bulk of the album features saxophonist Joe Henderson, his improvisational élan balancing Hanna's sparsity. Unlike later versions of "All Blues" that would often run at a faster clip, Carter's version here takes it considerably slower than the Kind of Blue (Columbia, 1959) original, and everyone contributes to its relaxed vibe, especially Henderson's behind-the-beat phrasing and Hanna's measure voicings.
Another winner in the CTI Masterworks series of remastered reissues, All Blues proves there's plenty of room for exploration, even in the middle of the mainstream.
Track Listing: A Feeling; Light Blue; 117 Special; Rufus; All Blues; Will You Still Be Mine.
Personnel: Ron Carter: bass, piccolo bass; Joe Henderson: tenor saxophone (1, 3-5); Roland
Hanna: piano (1-5); Billy Cobham: drums and percussion (1-5); Richard Tee:
electric piano (3).
I love jazz because I was born and raised here in America, and it is one of the most significant cultural contributions we have given to the world. It is an incredibly sophisticated artform that continues to challenge boundaries while delighting and engaging listeners of all different ages and backgrounds
I love jazz because I was born and raised here in America, and it is one of the most significant cultural contributions we have given to the world. It is an incredibly sophisticated artform that continues to challenge boundaries while delighting and engaging listeners of all different ages and backgrounds. I love how jazz can involve musicians who may have never met each other can coming together and making incredible music by referring to the Great American Songbook and musicians who have been playing together for years, who have a deep connection and who explore and create original music that is at the cutting edge of musical innovation in every sense. Performing jazz music requires a virtuosity and technique that only strict discipline can teach as well as a spontaneity and playfulness that reflects the simple folk roots of the music.
I was first exposed to jazz as a student in college. Only knowing I wanted to play guitar, I enrolled in an applied music program that focused on Jazz rhythm section playing. The subsequent journey that I have been on since the time that I enrolled in that class has helped me grow not only as a musician but more so as a person.