James Carter via giant steps through a matrix based in the phenomenon placing most of the 7.8 billion of us within 6 or fewer degrees — steps — of each other...
- Steps from James Carter:
I'LL TAKE YOU THERE! ▶
'mātriks / "source" / from "mater", Latin for "mother". We're real mothers for ya!
I'LL TAKE YOU THERE! ▶
- Steps forward by: The Matrix via ↴
Who I Am & Where I Live
- Name: James Carter
- City: New York City
- Country: United States
My Life & Work
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Bio:
“You have to be totally comfortable wherever,” Carter says. “I feel that music equals life, that’s the way my teacher always taught me. You just can’t go through life and experience it fully with a set of blinders on. I think there’s tremendous beauty in cross-pollinations of music and influences.”
In many ways, weaving together divergent impulses is at the heart of Carter’s music. Like the late tenor sax titan Ben Webster, he’s given to furious, high-velocity solos, but is just as likely to wax sentimental, using his big, bruising tone to tenderly caress a comely melody. In 2000, he released two albums simultaneously that amounted to an anti-manifesto, a proclamation that everything is fair game.
On Chasin’ the Gypsy, a voluptuous, lyrical session partly inspired by the timeless collaboration between Django Reinhardt and Stephane Grappelli, he assembled a thrilling group with violinist Regina Carter and Brazilian guitarist Romero Lubambo, for a project born out of some sound check jamming with Lubambo and Brazilian percussionist Cyro Baptista during a tour with Kathleen Battle. The groove-laden Layin’ in the Cut, featuring James Blood Ulmer’s former rhythm section with electric bassist Jamaaladeen Tacuma and drummer Grant Calvin Weston, combines harmolodic freedom with a deep reservoir of funk, and developed out of a project inspired by another legendary guitarist, Jimi Hendrix.
He reinvented the organ combo (with 2005’s Out of Nowhere and again in 2009 with John Medeski on Heaven and Earth), explored the music of alt-rock band Pavement (on 2005’s Gold Sounds), and paid loving tribute to Billie Holiday (on 2003’s Gardenias for Lady Day). Taken in context, Carter’s creative rendezvous with composer, Roberto Sierra, with the Concerto for Saxophones and Orchestra made perfect sense.
Now Carter presents us with James Carter’s Elektrik Outlet, a new configuration within which he has found a new groove to explore. Shifting his sax into a keen array of electronics and pedals just might be the perfect “outlet” for Carter to tap into that “frustrated guitarist” that he often describes himself to be. An excellent selection of tunes from Eddie Harris, Gene Ammons, Al Jarreau, Stevie Wonder, Minnie Ripperton and others provides impetus for Carter’s Elektrik Outlet to sizzle, slide, and pop. Adding energy to the group are fellow Detroit artists, Gerard Gibbs on electronic keyboards, Ralphe Armstrong on electric bass and Alex White on drums.
Contact Information
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Management/Booking:
Management
American International Artists, Inc.
Cynthia B. Herbst, President
(518) 686-0972
My Media & Markets
- ▶ Twitter: jamescarterlive
- ▶ Website: http://jamescarterlive.com
- ▶ YouTube Music: http://music.youtube.com/channel/UCxBnszhz5npntx1YScPe1UQ
- ▶ Spotify: http://open.spotify.com/album/0BdIKXeki9xXABNsaaObIP
- ▶ Spotify 2: http://open.spotify.com/album/1r1PprjJwnPDwqXU1F8djw
- ▶ Spotify 3: http://open.spotify.com/album/3KoCiZYQASvMijRKEoHZo8
- ▶ Spotify 4: http://open.spotify.com/album/1qCJMhU71FQ7Z47TySkLDg
More
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Quotes, Notes & Etc.
Carter’s ease with swing, bop and avant-garde styles also gave notice that a staggeringly inclusive figure—the apotheosis of the postmodern jazzman—was now among us.
- Steve Futterman, THE WASHINGTON POST
There were passages in the program, especially during pieces such as Joe Henderson’s “Recorda Me,” in which Carter played with a surprisingly soft and tender sound, his improvisations filled with subtle melodic paraphrases. At other times, he added an appealing, burry edge to his tone—the result calling up images, on soprano saxophone, of Sidney Bechet.
- Don Heckman, LOS ANGELES TIMES
Clips (more may be added)
The world's artistry via giant steps through a matrix based in the phenomenon placing most of the 7.8 billion of us within 6 or fewer degrees — steps — of each other ...
... a project conceived and built in the fertile, fecund and atavistic ground zero of Bahia, Brazil initially for the discoverability of this singular region's dispossessed genius.
All explained in the window immediately below. Followed — beneath this window — by scores of magnificent artists, each leading to myriads more artists/categories. Inside this window also may be found our Brazilian record store radio, named by British journal The Guardian as one of 10 of the Best Radio Stations Around the World!
IF YOU CAN'T STAND THE HEAT
Brazil is not a European nation. It's not a North American nation. It's not an East Asian nation. It straddles -- jungle and desert and dense urban centers -- both the equator and the Tropic of Capricorn. It absorbed over ten times the number of African slaves taken to the United States of America, and much of its aboriginal population was absorbed into the general population-at-large. Its people have lived under oligarchy, plutocracy, dictatorships and massive corruption, with elements of these still strongly entrenched today.
But!
Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of -- or perhaps because of -- the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.
For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...
Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.
Raimundo Sodré, in a conversation ranging through New Orleans and Harlem and the South Side of Chicago ... and Appalachia and Irish villages and Russian shtetls and the unofficial symbol of Brazil's Bahian-born national music (the pandeiro) almost certainly having arrived in Brazil in the hands of Sephardic Jews (including conversos) fleeing the Inquisition, once remarked: "Where there's misery, there's music!"
A pandeirista on the roof. And it's not just music. And it's not just Brazil.
