Ron Carter is among the most original, prolific, and influential bassists in jazz. With more than 3.500 albums to his credit, he has recorded with many of music’s greats: Tommy Flanagan, Gil Evans, Lena Horne, Bill Evans, B.B. King, the Kronos Quartet, Dexter Gordon, Wes Montgomery, and Bobby Timmons. In the early 1960s he performed throughout the United States in concert halls and nightclubs with Jaki Byard and Eric Dolphy. He later toured Europe with Cannonball Adderley. From 1963 to 1968, he was a member of the classic and acclaimed Miles Davis Quintet. He was named Outstanding Bassist of the Decade by the Detroit News, Jazz Bassist of the Year by Downbeat magazine, and Most Valuable Player by the National Academy of Recording Arts and Sciences.
In 1993 Ron Carter earned a Grammy award for Best Jazz Instrumental Group, the Miles Davis Tribute Band and another Grammy in 1998 for Call ‘Sheet Blues’, an instrumental composition from the film ‘Round Midnight. In addition to scoring and arranging music for many films, including some projects for Public Broadcasting System, Carter has composed music for A Gathering of Old Men, starring Lou Gosset Jr., The Passion of Beatrice directed by Bertrand Tavernier, and Blind Faith starring Courtney B. Vance. Carter shares his expertise in the series of books he authored, among which are Building Jazz Bass Lines and The Music of Ron Carter; the latter contains 130 of his published and recorded compositions.
Carter earned a bachelor of music degree from the Eastman School in Rochester and a master’s degree in double bass from the Manhattan School of Music in New York City. He has also received two honorary doctorates, from the New England Conservatory of Music and the Manhattan School of Music, and was the 2002 recipient of the prestigious Hutchinson Award from the Eastman School at the University of Rochester. Most recently he was honored by the French Minister of Culture with France’s premier cultural award–the medallion and title of Commander of the Order of Arts and Letters, given to those who have distinguished themselves in the domain of artistic or literary creation and for their contribution to the spread of arts and letters in France and the world.
Carter has lectured, conducted, and performed at clinics and master classes, instructing jazz ensembles and teaching the business of music at numerous universities. He was Artistic Director of the Thelonious Monk Institute of Jazz Studies while it was located in Boston and, after 18 years on the faculty of the Music Department of The City College of New York, he is now Distinguished Professor Emeritus although, as a performer, he remains as active as ever.
ok, a detail:
Yes, Jim Hall & Ron Carter – Alone Together.
Alone Together is one of the great duet albums in instrumental jazz. Guitarist Jim Hall and bassist Ron Carter are renowned as both studio musicians and members of stellar outfits (Hall played with Jimmy Giuffre and Art Farmer; Carter with Miles Davis’s second great quintet). In the intimate, chamber-jazz atmosphere of these live dates, however, the true sensitivity and flexibility of both artists can be heard. Carter and Hall are sophisticated, harmonically advanced players. They value balance and space as much as technical showmanship, and both play with a cool tone and rhythmically intricate flair that scintillates as it soothes and seduces.
The majority of the program consists of standards (“Autumn Leaves” and “Prelude to a Kiss),” along with other covers (Sonny Rollins’s “St. Thomas”). Hall contributes an original, the smoky “Whose Blues,” as does Carter, with the sly bop flourishes on “Receipt, Please.” Throughout, the music is playful, highly lyrical, energetic, and beautiful, while representing an almost uncanny telepathy between the two performers. Aside from faint crowd noise from the club audience, this album is perfection.
The sticky, fried catfish scented air is the funk that New Orleans’ own Lagniappe Brass Band breathes. Lagniappe Brass Band hits hard with its up-tempo, high energy funk that makes asses shake and sweat glands sweat. The group has logging 250+ shows a year nationally and internationally. From small and authentic smoke filled and beer tinged New Orleans bars, to festivals for audiences of thousands – Lagniappe’s six horn players bring an undeniable, massive wall of sound that fills your ears and the air above the streets. Below this is the infectious Afro-Cuban bass drum pulse that alone is the foundation for your dancing. The term, “lagniappe” is a Cajun French term defined as “something given or obtained gratuitously or by way of good measure.” Mark Twain writes about the word as “a word worth traveling to New Orleans to get”. Come to New Orleans and see the band or catch them around the world – either way they will give you a ‘lil extra.Read More
Ronnie Mathews is barely known today, but the pianist was a distinguished sideman starting in 1960 and a leader through the years. As a sideman, he appeared on Freddie Hubbard’s Breaking Point (1964), Lee Morgan’s Rumproller (1965) Max Roach’s Drums Unlimited (1965) and Dexter Gordon’s The Homecoming (1976), as well as on albums by many leading jazz stars.
Ronnie Mathews died in 2008 (his New York Times obit is here).
Aquí tocando con Sonny Stitt
Ronnie Mathews, Piano ; Leonard Gaskin, Bass; Herbie Lovelle, Drums; Osvaldo Martinez,Bongos ; Marcelino Valdez, Conga.
El saxofonista Rosario Giuliani nació en el año 1967 en la ciudad de Terracina (localidad costera bañada por el Mar Tirreno, situada en la región Italiana del Lacio). A los 12 años de edad descubrió a Charlie Parker (compositor estadounidense de Jazz e iniciador del “Bebop”, o “Hard Bop”) y, al poco tiempo, decidió ser músico de Jazz. Empezó a estudiar el Saxo Alto desde muy joven; a los 15 años comenzó a asistir a las clases del Conservatorio de Música de Licinio Reficeen Frosinone (Italia), donde se graduó en 1987 con la calificación honorífica de: “Magna Cum Laude”.
Backatown, el albúm debut de la nueva sensación de la escena funk norteamericana; el multi-instrumentista de Nueva Orleans, Trombone Shorty, quien con 24 años era ya un artista a tener muy en cuenta más allá de distinciones de géneros, porque es de esa clase de músicos tan personales que aparecen quizás sólo una vez en una generación entera.
Su música es una poderosa combinación de rock.funk, jazz, hip-hop y soul, un sonido distinto que, a falta de un término ya existente que englobe de manera precisa la rica mezcla de ritmos que convoca, él mismo bautizado como “Supafunkrock”.Read More