DANIEL CARTER ET AL- Live Constructions Volume 2
SLAMCD 597
Daniel Carter, saxophones and trumpet; Julian Priester, trombone; David Haney, piano; Adam Lane, bass; Reggie Sylvester, drums
Recorded 09/08/2018 and 21/10/2018 at WKCR Radio, Columbia University, New York, USA
Sleeve note: “All music is spontaneously composed except for 12 bars by Herbie Nichols in cut 11.”
I remember Volume 1 of Live Constructions as the album that gave me the most pleasure in 2018, in spite of its brevity. Carter’s appearances on the Free Jazz circuit are more frequent than one may imagine, but of course he is heard with many other leading, free musicians as well as with his own groups; it should be said though that he is not sufficiently recorded.
The sounds he makes are spectacular, yet always sounding so natural, never mind which instrument he has chosen. This current quintet is quite different from last year’s trio, especially perhaps with the trombone’s presence. The album illustrates his ability to successfully investigate the application to his music of various instruments, musicians, musical methodologies and techniques. Most importantly, he does not yield his personal foresight or conception in the execution.
He is also completely diffident, never letting his own cognition, emotion or pride subdue that of his musical associates – always, the music comes first.
His sound overall may seem sober, austere even, but it never fails to present that willingness to be intrepid and impudent even, while he concentrates on his efforts to perfect the matrix of the voices he is working with, rather than to overstate his individual oration.
Trombonist Julian Priester shifts effortlessly between Avant-garde, fusion and hard bop. Not surprisingly, as his debut album was issued on Riverside as long ago as 1960. His list of musicians experienced, either by playing or cooperating/collaborating with them reads like a dictionary of jazz. They may start historically with Bo Diddley and Muddy Waters but continue royally through Sun Ra, Anthony Braxton, Stanley Turrentine, Art Blakey, McCoy Tyner, Blue Mitchell, Max Roach, Booker Little, Lee Morgan, Charlie Haden, Johnny Griffin, Clifford Jordan, Herbie Hancock, Dave Holland, Freddie Hubbard, Duke Ellington and Eddie Henderson. No, that’s not all: Sam Rivers and John Coltrane. His playing has always been malleable and audacious, multifaceted and highly advanced.
This is a thoroughly enjoyable album, one which gives us another much-needed ear onto a remarkably powerful influence on the life of the Avant-garde.
Reviewed by Ken Cheetham
SLAMCD 597
Daniel Carter, saxophones and trumpet; Julian Priester, trombone; David Haney, piano; Adam Lane, bass; Reggie Sylvester, drums
Recorded 09/08/2018 and 21/10/2018 at WKCR Radio, Columbia University, New York, USA
Sleeve note: “All music is spontaneously composed except for 12 bars by Herbie Nichols in cut 11.”
I remember Volume 1 of Live Constructions as the album that gave me the most pleasure in 2018, in spite of its brevity. Carter’s appearances on the Free Jazz circuit are more frequent than one may imagine, but of course he is heard with many other leading, free musicians as well as with his own groups; it should be said though that he is not sufficiently recorded.
The sounds he makes are spectacular, yet always sounding so natural, never mind which instrument he has chosen. This current quintet is quite different from last year’s trio, especially perhaps with the trombone’s presence. The album illustrates his ability to successfully investigate the application to his music of various instruments, musicians, musical methodologies and techniques. Most importantly, he does not yield his personal foresight or conception in the execution.
He is also completely diffident, never letting his own cognition, emotion or pride subdue that of his musical associates – always, the music comes first.
His sound overall may seem sober, austere even, but it never fails to present that willingness to be intrepid and impudent even, while he concentrates on his efforts to perfect the matrix of the voices he is working with, rather than to overstate his individual oration.
Trombonist Julian Priester shifts effortlessly between Avant-garde, fusion and hard bop. Not surprisingly, as his debut album was issued on Riverside as long ago as 1960. His list of musicians experienced, either by playing or cooperating/collaborating with them reads like a dictionary of jazz. They may start historically with Bo Diddley and Muddy Waters but continue royally through Sun Ra, Anthony Braxton, Stanley Turrentine, Art Blakey, McCoy Tyner, Blue Mitchell, Max Roach, Booker Little, Lee Morgan, Charlie Haden, Johnny Griffin, Clifford Jordan, Herbie Hancock, Dave Holland, Freddie Hubbard, Duke Ellington and Eddie Henderson. No, that’s not all: Sam Rivers and John Coltrane. His playing has always been malleable and audacious, multifaceted and highly advanced.
This is a thoroughly enjoyable album, one which gives us another much-needed ear onto a remarkably powerful influence on the life of the Avant-garde.
Reviewed by Ken Cheetham
