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| 1. | Diminishing
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| 2. | Slam's Mishap
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| 3. | Street of Dreams
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| 4. | Infiniment
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| 5. | Blue Leo
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| 6. | Heaven on Earth
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Jazz
James Carter - Sax (Baritone), Sax (Soprano), Sax (Tenor)
John Medeski - Organ (Hammond)
Adam Rogers - Guitar
Bill Milkowski - Liner Notes
Christian McBride - Bass (Acoustic), Bass (Electric)
Greg Calbi - Mastering
Heveron Smith, Eric - Assistant
Jeff Levenson - Producer
Joey Baron - Drums
John Abbott - Photography
Jon D'Uva - Digital Editing, Mixing
Molly Gobel - Art Direction, Design
Robert Carvell - Assistant
Steven Bensusan - Executive Producer
Steven Remote - Engineer, Mixing
Saxophonist James Carter and organist John Medeski (of the pioneering jam-band, Medeski, Martin Wood) lead a supergroup featuring Christian McBride (bass), Adam Rogers (guitar) and Joey Baron (drums). Together they carve out a groove that captures the buzz and vitality of jam-jazz at its most exhilerating. Recorded live at the Blue Note in New York, the group throws down the funk on Django Reinhardt's "Diminishing," Larry Young's "Heaven On Earth," Leo Parker's "Blue Leo," and the songbook standard, "Street Of Dreams."
Heaven on Earth finds saxophonist James Carter performing live at the Blue Note Club in N.Y.C. in May of 2009. Backed by a select small group of musicians including organist John Medeski, bassist Christian McBride, guitarist Adam Rogers, and drummer Joey Baron, Carter runs through a short list of standards and lesser-known covers. In contrast to his generally swinging, straight-ahead 2008 studio release Present Tense, Heaven on Earth features Carter's idiosyncratic penchant for mixing old-school bop blowing and avant-garde skronk with a bit more greasy funk this time around per the inclusion of Medeski. In that sense, what at first may appear as yet another average live album reveals itself to be a much more interesting proposition. From the start, Carter is at his iconoclastic best reworking Django Reinhardt's "Diminishing" into less of a gypsy-jazz jam and more of a fractured and propulsive fusion-oriented work-out. He then wrangles Lucky Thompson's "Slam's Mishap" into a thumping and soulful roil bringing his own solo to a head with a series of bluesy goose-strangling squeals. That Rogers follows up with an urbane Kenny Burrell-inflected turn is a welcome rub. Never one to shy away from grand drama, Carter goes for the gusto midway through with a florid and voluptuous take on the ballad "Street of Dreams" that ends in bright audience claps and shouts of approval. In fact, the crowd seems to really dig the music and it's nice to actually hear how enthusiastic they are throughout out the album. They are particularly audible during Carter's gut-bucket rendition of the Ike QuebecLeo Parker blues "Blue Leo" which showcases the extroverted saxophonist's flair for avant-garde split-tones and layered multi-phonic techniques that never lose sight of the earthy intentions of the tune. More than just a live date, Heaven on Earth is a knotty, adventurous document that allows for as much group interplay as it does for spotlighting Carter's long-recognized virtuosity. ~ Matt Collar, All Music Guide
James Carter
Active Decades: '90s and '00s
Born: Jan 03, 1969 in Detroit, MI
Genre: Jazz
Styles: Modern Creative, Post-Bop, Contemporary Jazz, Progressive Jazz, Avant-Garde Jazz
After Wynton Marsalis, no one caused more of an uproar than James Carter did when he appeared on the New York jazz scene from his native Detroit. Carter's debut recording, JC on the Set, issued in Japan when he was only 23 and in the States a year later in 1993, was universally acclaimed as the finest debut by a saxophonist in decades. Critics lauded his ability to play in virtually any jazz style without appearing to ape anyone. Carter, who began playing at 11 and studied with trumpeter Marcus Belgrave, was a prodigy. He played and toured with Marsalis in 1986 at the age of 17 and became a member of Lester Bowie's band upon relocating to New York in 1988. Carter issued no less than six recordings under his own name between 1993 and 2000, all of them with different focuses, from a set of standards, Conversin' with the Elders in 1995, to an electric funk record, Layin' in the Cut, to a simultaneously released set in tribute to Django Reinhardt, Chasin the Gypsy. Three years later, he honored the legendary Billie Holiday with Gardenias for Lady Day. Jumping ship from Columbia to Warner Bros., Carter's Live at Baker's Keyboard Lounge followed in spring 2004. Another live session, Out of Nowhere, was released in 2005 on the independent label Half Note. Carter has continued his whirlwind of activity, playing in sessions and on live settings with the Lincoln Center Jazz Orchestra, Cyrus Chestnut, Rodney Whitaker, Frank Lowe, the late Julius Hemphill, pop-jazz singer Madeleine Peyroux, Ronald Shannon Jackson, Tough Young Tenors, and the Charles Mingus Big Band. In 2008, he released Present Tense on Universal Jazz. Carter followed that up a year later with the live album Heaven on Earth, featuring a jazz supergroup including, among others, organist John Medeski and bassist Christian McBride.
--- Thom Jurek, All Music Guide |
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