James Carney

"Mr. Carney, a sharp pianist and a broadly imaginative conceptualist and composer, leads a cadre of adventurous and versatile players"...[On the album Green-Wood] "This music is harmonically sophisticated, texture crazy, groove driven but unconcerned with swing: in other words, a distillation of concepts that have gained traction on the left margin of jazz’s mainstream." - Nate Chinen, The New York Times

"Green-wood is the best new jazz of 2007." - Will Layman, Popmatters.com

"Keyboardist and composer James Carney might be described as a friendly iconoclast, an artist who enthusiastically explores new concepts at the cutting edge of jazz...His excellent composing transcends the established musical borders and stares down current definitions of what jazz should be." - Terrell Holmes, All About Jazz / New York, August 2007

AMG Rating for Green-Wood: (4 stars) "Each of the horn players has his moments in the spotlight but the complex ensembles, the impressionistic themes, and Carney's versatile work on piano and electric keyboards make Green-Wood particularly special

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"Mr. Carney, a sharp pianist and a broadly imaginative conceptualist and composer, leads a cadre of adventurous and versatile players"...[On the album Green-Wood] "This music is harmonically sophisticated, texture crazy, groove driven but unconcerned with swing: in other words, a distillation of concepts that have gained traction on the left margin of jazz’s mainstream." - Nate Chinen, The New York Times

"Green-wood is the best new jazz of 2007." - Will Layman, Popmatters.com

"Keyboardist and composer James Carney might be described as a friendly iconoclast, an artist who enthusiastically explores new concepts at the cutting edge of jazz...His excellent composing transcends the established musical borders and stares down current definitions of what jazz should be." - Terrell Holmes, All About Jazz / New York, August 2007

AMG Rating for Green-Wood: (4 stars) "Each of the horn players has his moments in the spotlight but the complex ensembles, the impressionistic themes, and Carney's versatile work on piano and electric keyboards make Green-Wood particularly special. Thus far, all of James Carney's recordings are high- quality examples of modern creative jazz." - Scott Yanow, All Music Guide

"From driving rock riffs, intense Gospel-inflected horn charts and swirling electronic atmospheres to driving second line rhythms, Carney embraces a plethora of styles. Oscillating swirls of texture and color come to the fore on the roiling meditation “Power” and the driving “The Poetry Wall.” The epic pacing of “Shame” borrows the patient phrasing of a hymn, while “Smog Cutter” inserts tricky rhythm changes into a contrapuntal horn line, knitting a mosaic of gorgeous textures and moods. Pointing the way toward the future, Carney’s electro-acoustic ensemble marries resonant melodies to challenging structures, combining the best aspects of today’s creative improvised music into a rewarding whole." -Troy Collins, Cadence Magazine, September 2007

"Carney's compositions range far beyond standard jazz fare, drawing from genres as disparate as Indian ragas and New Orleans piano, Brazilian afoxe and Jarrett-esque lyricism. His playing is exquisite, and he gets the most out of the beautiful sound of his piano." - Ernie Rideout, Keyboard Magazine

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Primary Instrument

Piano

Willing to teach

Beginner to advanced

Credentials/Background

Teaching music and piano to others is important to me, and I work regularly with a number of keyboard students at my studio in the south Park Slope neighborhood of Brooklyn, New York. The studio is equipped with a German grand piano, a fender rhodes, and other keyboards for playing duets. Lessons may be archived via audio/video for future reference. Although creative jazz improvisation and composition are my focus, I also teach beginning and intermediate levels of classical piano. Students may also study blues, rock, and New Orleans style piano playing, music theory, jazz keyboard theory, ear training, transcription and orchestration. Areas of study for more advanced players may include sound and tone production, rhythmic, harmonic, and melodic development, voice leading, compositional forms, arranging, development of velocity, harmonizing standards and original music, developing a fearless musical aesthetic, open improvisation, expanding the timbral palette, and the art of creative practicing. Since 1991 I have taught as a visiting artist at many fine colleges and universities, including the Eastman School of Music, New York University, Cal State Los Angeles, the University of Nevada at Reno, Ithaca College, Williams College, Saddleback College, California Institute of the Arts and the University of Missouri at St. Louis. I have also taught privately throughout the years, working with students from the ages of 8 to 80. Friends & families may study with me in a group lesson format, and parents are always welcome to attend lessons with their children. Please e-mail me for further information, including rates and available lesson times. My studio is located within easy walking distance to the R, M, F & G subway lines.

Clinic/Workshop Information

Read more

Primary Instrument

Piano

Willing to teach

Beginner to advanced

Credentials/Background

Teaching music and piano to others is important to me, and I work regularly with a number of keyboard students at my studio in the south Park Slope neighborhood of Brooklyn, New York. The studio is equipped with a German grand piano, a fender rhodes, and other keyboards for playing duets. Lessons may be archived via audio/video for future reference. Although creative jazz improvisation and composition are my focus, I also teach beginning and intermediate levels of classical piano. Students may also study blues, rock, and New Orleans style piano playing, music theory, jazz keyboard theory, ear training, transcription and orchestration. Areas of study for more advanced players may include sound and tone production, rhythmic, harmonic, and melodic development, voice leading, compositional forms, arranging, development of velocity, harmonizing standards and original music, developing a fearless musical aesthetic, open improvisation, expanding the timbral palette, and the art of creative practicing. Since 1991 I have taught as a visiting artist at many fine colleges and universities, including the Eastman School of Music, New York University, Cal State Los Angeles, the University of Nevada at Reno, Ithaca College, Williams College, Saddleback College, California Institute of the Arts and the University of Missouri at St. Louis. I have also taught privately throughout the years, working with students from the ages of 8 to 80. Friends & families may study with me in a group lesson format, and parents are always welcome to attend lessons with their children. Please e-mail me for further information, including rates and available lesson times. My studio is located within easy walking distance to the R, M, F & G subway lines.

Clinic/Workshop Information

James Carney has been a guest lecturer and clinician at The Eastman School of Music, New York University, Cal State Los Angeles, The University of Nevada at Reno, Ithaca College, Williams College, The University of Missouri at St. Louis, California Institute of the Arts, Saddleback College, Mt. St. Mary's College and The School for Improvisational Music in Brooklyn. He has also taught as a substitute teacher at CalArts and NYU. Carney is available as a soloist or with variations of his septet. Please call to discuss clinics, workshops, and concerts. Please note that your institution may also be eligible for grants funding by presenting James Carney as an artist-in-residence. Call or write for details.

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