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Jazz / Post-Bop; Mainstream Jazz; Jazz-Pop
Recorded: Nov 24-Dec 8, 1998
Regina Carter - Violin
Rodney Jones - (1, 3-6, 8) Guitar
Werner "Vana" Gierig - (1, 3-4, 6-8, 10) Piano
Peter Washington - (1-8, 10) Bass
Lewis Nash - (1-8, 10) Drums
Cassandra Wilson - (1-2, 4-10) Vocal
Richard Bona - (7) Electric Bass, Acoustic Guitar, Percussion, Vocal
Romero Lubambo - Acoustic Guitar
Kenny Barron - (1-8, 10) Piano
Regina Carter definitely has a lot of room to run in the jazz world with the violin, an instrument that has been selected by relatively few for compelling reasons; a)., the sheer difficulty of mastering the contraption, and b)., the rigorous, non-swinging, non-improvising classical training that usually produces that mastery. Some of the conservatory still lingers in Carter's formal stage stance and in traces of the music, but there is no doubt that she can swing mightily, if not yet with the consistently eloquent ease of the old masters. Kenny Barron contributes his unshakeably solid piano to four cuts and Werner Geirig handles four more; Rodney Jones serves up jazz and wah-wah guitars; Peter Washington (bass) and Lewis Nash (drums) back most of the tracks. A good deal of the CD places Carter in a straight-ahead setting, where she shows her Stuff Smith stuff particularly winningly on "Lady Be Good." Luckily, she hasn't been roped into the mainstream to the exclusion of all else: hence, the brave, if slightly inhibited, reggae/funk version of the Temptations' "Papa Was A Rollin' Stone" with an idiosyncratic moaning vocal by guest Cassandra Wilson. Carter also tries out a mild salsa groove on "Mojito," and a nice, revolving African beat on "Mandingo Street" in the manner of early-'90s Jean-Luc Ponty. In all, a decent, all-purpose major-label debut, designed to present a table of contents for her emerging career.
---Richard S. Ginell, All Music Guide
Regina Carter
Active Decades: '90s and '00s
Genre: Jazz
Styles: Chamber Jazz, Fusion, Post-Bop, Mainstream Jazz, Classical Crossover
Violinist Regina Carter is a highly original soloist whose sophisticated technique and rich, lush tone took the jazz world by pleasant surprise when she arrived in New York from her native Detroit. And jazz fans weren't the only people who heard that mercurial quality in her playing: artists as diverse as Faith Evans, Elliot Sharp, and Mary J. Blige have employed her talents on their recordings, as has filmmaker Ken Burns on his soundtrack for The Civil War. Add this to an extremely long list of jazzers that includes Tom Harrell, Wynton Marsalis, and Oliver Lake. Carter began playing her instrument at age four and attended Detroit's prestigious Cass Technical High School. Upon graduating, she departed for the new England Conservatory of Music, only to return to Michigan to join the all-female jazz quartet Straight Ahead. After two recordings for the Atlantic label, Carter left the band in 1994 in search of a solo career. She had already been doing session work in the city and sought to make the move permanent. Carter found herself working with Max Roach, the String Trio of New York, and the Uptown String Quartet before recording her self-titled debut recording on Atlantic in 1995. Its mixture of R&B, pop, and jazz confused jazz fans and delighted pop critics. It sold well enough for her to record Something for Grace, which leaned in the jazz direction, though it featured R&B sheen in its production. Carter left Atlantic for Verve in 1998 and recorded two more outings under her own name, the last of which, Motor City Moments, is her finest session. In 2001, Carter recorded a duet session with Kenny Barron that has been universally acclaimed for its lyrical qualities and stunning range of dynamics and harmonic invention. She has since released the classical-influenced Paganini: After a Dream in 2003 and the American songbook album I'll Be Seeing You: A Sentimental Journey in 2006.
---Thom Jurek, All Music Guide |
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