James Carney's piano style fits his compositional approach: percussive, eccentric, unpredictable, concise. After his theme statement he'll parse his way through a piece one segment at a time, working on that segment until he's ready to move on. Choruses are of indefinite length. The trio is very much of a group concept in touch with the intricacies of his pieces. They participate equally in a piece's evolution during a performance. Although his writing is at a high level Carney's piano playing is limited in scope. His music would sound more complete with at least one saxophone. A horn ensemble would probably bring out all kinds of possibilities, but I'd guess his music can't be effectively sight readthe ensemble thing (with its rehearsal time) would probably have to be underwritten. Brief comments on the tunes: "Brassy Shoal Hoe-down"country meets Monk; "Zelzah"modal, slow loping tempo picks up later on; "In Lieu of Cross Roads" Sickafoose featured; "Weird Vernacular"free section, mostly group interaction, percussive feel; "Pearblossom Heights,"stark, reminiscent of Charlie Haden's "Silence"; "Louisiana Rocco"over a complicated ostinato; "Swamp Rookie"modern boogie woogie. James Carney - piano; Todd Sickafoose - bass; Dan Morris -drums.
I love jazz because it's sophisticated, international, atmospheric yet free, cool and warm.
I was first exposed to jazz through the sultry voice and flawless swing of my mother.
I met Mark Murphy, David Linx, Kurt Elling, and Youn Sun Nah.
The best show I ever attended was Youn Sun Nah in Paris.
The first jazz record I bought was Native Dancer by Wayne Shorter and Milton Nascimento
My advice to new listeners: open your mind and your ears, forget about structure, feel the textures.
Go see live music and keep buying CDs!