Active in both classical and jazz circles, bassist Ron Carter has also shown a preference for Brazilian music throughout his career. He's returned to Brazil each January for the past six years to perform with his ensemble and to learn from local artists. Carter, 62, and one of the most recorded jazz players of all time, wrote most of the pieces for this latest album with care taken to preserve authentic stylistic concepts. Houston Person's lyrical lead, Bill Frisell's unique, interwoven guitar voice, Stephen Scott's percussive piano fills and Carter's solid rhythm section characterize the session as authentic Brazilian music with a jazz slant.
Carter's "Por-Do-Sol" parades down the street with a light bouncy samba texture while "Saudade" sweeps around the ballroom in waltz time. "Manha de Carnaval," featuring Person's caressing tenor, pours out gracefully with a lyrical manner and heartfelt expression. A bossa arrangement of "Goin' Home" and a laid-back arrangement of Carter's bluesy "1:17 Special" keep the pace going strong. Bassist Carter takes the lead on "Samba de Orfeu" and expresses the same deep love for a melody that Person and Frisell display throughout the program. Highly recommended, Ron Carter's Orfeu combines mainstream jazz with lyrical Brazilian charm for an outstanding session.
Personnel: Ron Carter: bass; Houston Person: tenor saxophone; Bill Frisell: guitar; Stephen Scott: piano; Payton Crossley: drums; Steve Kroon: percussion.
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.