Jazz Articles about Daniel Carter

Antipop Consortium: Antipop Vs. Matthew Shipp

by James Taylor
April 2, 2003

Is it hip-hop or is it jazz? A revolutionary new ideal or a sound versed in tradition? Antipop vs. Matthew Shipp is a radical union between New York City's finest avant-garde hip-hop trio and free jazz's most important young pianist--and it's better than anything those phonies from Philly have put out in a decade.Antipop , Shipp's second collaborative release in as many months, sees the pianist joined by what is becoming his regular rhythm section: William Parker, Guillermo ...

Carter/Cook/Kowald/LaMaster: Principle Hope

by Richton Guy Thomas
March 12, 2003

Free jazz, like bebop, is complex intense playing with an emphasis on momentum. This is a simple description of the music that occupies a portion of Principle Hope. The venue where this music was performed is Boston's Tremont Theatre, a regular home for no-holds-barred open-ended jazz. The essential component of any free jazz performance is strong communication between each member of the group, which ensures forward motion. The late Peter Kowald lends particularly keen vision to this ensemble, whose credits ...

Earth People: Simple...Isn

by Terrell Kent Holmes
March 11, 2003

At one point on the title cut of Simple...Isn't It??, the latest CD by Earth People, the band's enigmatically-named singer, M, purrs, "Would you like...the usual? I didn't think so!" That contempt for the mundane exemplifies this vibrant work of spiritually driven, boundary-busting cadre music. The group's debut CD, Waking the Living, covered some of the same ground but with a slightly larger ensemble. On Simple their roster consists of four members, the music no less potent. ...

Antipop Consortium: Antipop Vs. Matthew Shipp

by AAJ Staff
February 21, 2003

Vs. has a most interesting aim: a direct collision between hip-hoppers Antipop Consortium and free jazzer Matthew Shipp. We've seen beats applied to jazz records, various forms of studio manipulation, and the application of rhythmic vocals alongside improvisation. So what is new here? The straightforward collision, essentially. Sometimes it works, most of the time it doesn't. Its greatest strength is also its greatest weakness: raw accessibility.

A bit of background. Jazz listeners, who are more likely to appreciate ...

Daniel Carter and Reuben Radding: Luminescence

by AAJ Staff
February 12, 2003

When historians look back at jazz around the turn of this century, they will have a hard time finding multi-instrumentalist Daniel Carter. That's because Carter has not made a single record as a leader. His outspoken collectivist orientation means that he only participates within a more open social context (such as the free improv groups TEST or Other Dimensions In Music). Luminescence is the inaugural disc for the Daniel Carter bin--and as far as this reviewer can tell, it might ...

Carter-Cook-Kowald-LaMaster: Principle Hope

by Kurt Gottschalk
February 4, 2003

As skillful a horn player as he is, Daniel Carter isn't much of a conversationalist. He's proficient on sax, flute, clarinet and trumpet, but in general it's best if he's the only one touching the horns. Without speculating as to why, it's safe to say that Carter is best heard solo or backed by strings and percussion. In tandem with another horn, he can, at times, show all the nuance of a tea kettle.

Which is why the projects he's ...

Daniel Carter/Gregg Keplinger/Rueben Radding: Language

by Dave Nathan
August 14, 2002

Seattle's Origin label has pretty much kept its releases within the realm of modern mainstream jazz, now dips its toe into the free jazz/avant-garde pool with Language. Featuring Daniel Carter on alto, Rueben Radding on bass and Gregg Keplinger on a set of very busy drums, the trio works through more than 50 minutes of music not designed for the timid listener. Made up of all original compositions, the set kicks off with a passionate “Speak Glow" with Carter's urgent ...