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| Regina Carter |
| Regina Carter |
első megjelenés éve: 1995
46 perc |
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| (1995)
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CD |
| 3.141 Ft
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| 1. | I Wanna Talk to You
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| 2. | When I Hear Your Name
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| 3. | Ain't Nobody
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| 4. | The Last Time
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| 5. | Sticks & Stones
Sticks
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| 6. | Beau Regard
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| 7. | First Impression
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| 8. | He'll See You Through
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| 9. | Sticks & Stones
Stones
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| 10. | Don't Explain
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Jazz / Post-Bop; Mainstream Jazz; Jazz-Pop
Recorded: Quad Recording Studios, New York, New York
Regina Carter - violin
Victor Bailey - vocals, synthesizer, bass, programming
Carla Cook - vocals
Mark "Led" Ledford - vocals
David Lee Jones - saxophone
Steve Turre - trombone
Rachel Z. Nicolazzo - piano, Fender Rhodes, synthesizer
Lonnie Plaxico - bass
Damen Duewhite - drums
Abdoulaye Epizo Bangoura - djembe, talking drum
Andrew Daniels - percussion
For her debut recording as a leader, post-Straight Ahead violinist Carter plays marvelously, improvises well, and has a tone that is typically soaring, clear, and at times mournful. Victor Bailey's production values and songs (he wrote three) have a profound effect on the result of this music, which mostly ranges from pop-funk to smooth instrumentals. Carter wrote or co-wrote six of the 10 tracks, but this is not to say it's all samey and predictable. The highlight is the Mark Helias piece "Beau Regard" in a 6/8 rhythm, where trombonist Steve Turre and Carter play wonderfully rich unison lines while pianist Rachel Z embellishes with her own gossamer-like, forward-moving runs. Exuding true, pure soul, Carter and bassist Lonnie Plaxico interpret the Billie Holiday epic "Don't Explain" with no help. It's a tour de force of restrained response and deeply felt, imaginative interpretation. Though barely two minutes each, "Sticks & Stones" (the "sticks" version and the "stones" version) joins Carter and djembe player Abdoulaye Epizo Bangoura for a violin vamp and percussion workout. The rest of the material lies in the R&B/pop vein, and holds little interest either on a jazz, "smooth" jazz, or commercial level. The lyrics are one-liners, the instrumental passages are not exciting or vital, and though Carter's improvisations are intriguing, they are not enough to lift tunes like "I Wanna Talk to You," "When I Hear Your Name," "Ain't Nobody," and "The Last Time" past a vapid vanishing point. However, artistry wins out in the end, and Carter's got more than enough of that. Pass on this one but watch for future volumes where she will shine on the strength of her musicianship, not a produced notion.
---Michael G. Nastos, All Music Guide
Includes liner notes by Greg Tate.
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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