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| 3.740 Ft
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| 1. | Doozy [Second Version]
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| 2. | When Lights Are Low
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| 3. | A Kiss from You
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| 4. | Sleep/Central City Sketches
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| 5. | Central City Blues
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| 6. | Hello
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| 7. | People
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| 8. | Promenade
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| 9. | Remember
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| 10. | Sky Dance
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| 11. | Lonesome Nights
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| 12. | Doozy [First Version]
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| 13. | Easy Money
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| 14. | Symphony in Riffs
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| 15. | Souvenir
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| 16. | Blues in My Heart
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Jazz
Benny Carter - Arranger, Conductor, Sax (Alto), Saxophone, Trumpet
American Jazz Orchestra
Bill Easley - Flute, Sax (Alto)
Bill Kipper - Mastering
Bob Millikan - Trumpet
Britt Woodman - Trombone
Cirgil Jones - Trumpet
Danny Bank - Bass, Clarinet, Clarinet (Bass), Sax (Baritone)
Dick Katz - Piano
Eddie Bert - Trombone
Gary Giddins - Editing, Liner Notes, Sequencing
Gregory K. Squires - Editing, Engineer, Sequencing
Jack Jeffers - Trombone
Jimmy Knepper - Trombone
John Berg - Art Direction
John Eckert - Trumpet
John Lewis - Music Direction, Musical Director, Piano
John Purcell - Flute, Sax (Alto)
Leroy Parkins - Editing, Producer, Sequencing
Lew Tabackin - Flute, Sax (Tenor)
Loren Schoenberg - Editing, Sax (Tenor), Sequencing
Marvin Stamm - Trumpet
Mel Lewis - Drums
Remo Palmier - Guitar
Ron Carter - Bass
Virgil Jones - Trumpet
One of the many Benny Carter recordings cut after he returned to jazz on a full-time basis in the mid-'70s, this double-LP set is the jewel among the seemingly countless number of gems. Eight of Carter's compositions are performed by the all-star American Jazz Orchestra ("Doozy" gets two versions) along with his old theme song "Sleep" and his recently written six-part "Central City Sketches." Virtually every player in this big band was a potential star soloist; among the more notable musicians are trombonist Jimmy Knepper, tenors Lew Tabackin and Loren Schoenberg and either John Lewis or Dick Katz on piano. But, as is often the case, Benny Carter frequently steals solo honors and his brief trumpet spot on "Central City Blues" is memorable. ~ Scott Yanow, All Music Guide
Benny Carter
Active Decades: '20s, '30s, '40s, '50s, '60s, '70s, '80s and '90s
Born: Aug 08, 1907 in New York, NY
Died: Jul 12, 2003 in Los Angeles, CA
Genre: Jazz
Styles: Big Band, Swing, Jump Blues, Mainstream Jazz, East Coast Blues
To say that Benny Carter had a remarkable and productive career would be an extreme understatement. As an altoist, arranger, composer, bandleader, and occasional trumpeter, Carter was at the top of his field since at least 1928, and in the late '90s, Carter was as strong an altoist at the age of 90 as he was in 1936 (when he was merely 28). His gradually evolving style did not change much through the decades, but neither did it become at all stale or predictable except in its excellence. Benny Carter was a major figure in every decade of the 20th century since the 1920s, and his consistency and longevity were unprecedented.
Essentially self-taught, Benny Carter started on the trumpet and, after a period on C-melody sax, switched to alto. In 1927, he made his recording debut with Charlie Johnson's Paradise Ten. The following year, he had his first big band (working at New York's Arcadia Ballroom) and was contributing arrangements to Fletcher Henderson and even Duke Ellington. Carter was with Henderson during 1930-1931, briefly took over McKinney's Cotton Pickers, and then went back to leading his own big band (1932-1934). Already at this stage he was considered one of the two top altoists in jazz (along with Johnny Hodges), a skilled arranger and composer ("Blues in My Heart" was an early hit and would be followed by "When Lights Are Low"), and his trumpet playing was excellent; Carter would also record on tenor, clarinet (an instrument he should have played more), and piano, although his rare vocals show that even he was human.
In 1935, Benny Carter moved to Europe, where in London he was a staff arranger for the BBC dance orchestra (1936-1938); he also recorded in several European countries. Carter's "Waltzing the Blues" was one of the very first jazz waltzes. He returned to the U.S. in 1938, led a classy but commercially unsuccessful big band (1939-1941), and then headed a sextet. In 1943, he relocated permanently to Los Angeles, appearing in the film Stormy Weather (as a trumpeter with Fats Waller) and getting lucrative work writing for the movie studios. He would lead a big band off and on during the next three years (among his sidemen were J.J. Johnson, Miles Davis, and Max Roach) before giving up on that effort. Carter wrote for the studios for over 50 years, but he continued recording as an altoist (and all-too-rare trumpeter) during the 1940s and '50s, making a few tours with Jazz at the Philharmonic and participating on some of Norman Granz's jam-session albums. By the mid-'60s, his writing chores led him to hardly playing alto at all, but he made a full "comeback" by the mid-'70s, and maintained a very busy playing and writing schedule even at his advanced age. Even after the rise of such stylists as Charlie Parker, Cannonball Adderley, Eric Dolphy, Ornette Coleman, and David Sanborn (in addition to their many followers), Benny Carter still ranks near the top of alto players. His concert and recording schedule remained active through the '90s, slowing only at the end of the millenium. After eight amazing decades of writing and playing, Benny Carter passed away quietly on July 13, 2003 at a Los Angeles hospital. He was 95.
---Scott Yanow, All Music Guide
American Jazz Orchestra
Active Decades: '80s and '90s
Born: 1985
Genre: Jazz
Styles: Big Band, Progressive Big Band, Swing, Modern Big Band, Progressive Jazz
In 1985, when jazz critic Gary Giddins was told by producer Roberta Swann that she was thinking of putting together a modern classical ensemble, he suggested that she help create a jazz repertory orchestra instead. With John Lewis as the musical director, the American Jazz Orchestra had their debut concert in 1986, playing works associated with Duke Ellington, Jimmie Lunceford, Fletcher Henderson, Count Basie and Dizzy Gillespie. Two recordings resulted (tributes to Ellington and Lunceford) which often found the all-star players often re-creating recorded solos. But when funding eventually ran out in the early '90s, the American Jazz Orchestra slipped away into history.
--- Scott Yanow, All Music Guide |
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