Chasin' the Gypsy
ASIN: B00004TJ75
Editorial Reviews
Amazon.com's Best of 2000
For Chasin' the Gypsy, James Carter enlists violinist (and cousin) Regina Carter, drummer Joey Baron, guitar mainstay Jay Berliner, and several others to tackle this homage to Gypsy guitar virtuoso Django Reinhardt. The bustle and muscle are in balance, with accordion, steel-string guitar, bass saxophone, violin, and drums flawlessly chugging through these nine tunes. --Andrew Bartlett
Amazon.com
At first glance, jazz guitarist Django Reinhardt might seem an unlikely inspiration for a modern jazz saxophonist. But in referencing the fiery gypsy virtuoso (while employing dual acoustic guitarists), James Carter has fashioned his most compelling, fully formed recital as a leader. While his galloping soprano on the title tune enhances Carter's reputation as fiery technical craftsman (all the more joyous for the torrid exchanges with his cousin, violinist Regina Carter), Chasin' the Gypsy showcases his gifts as a torch player, while deepening his connections to the rich timbres, macho articulations, and swinging romanticism of the pre-bebop saxophone tradition. In the process, he finds provocative new applications for forgotten instruments of the 1920s. On "Oriental Shuffle," he elicits a ripe, bulbous tonality from the F Mezzo--like a soprano sax on steroids--carefully layering taut melodic nuggets until busting out in a Djangoish reverie. Even more satisfying is his portrayal of the classic chestnut "I'll Never Be the Same," in which James matches Regina's soaring lyricism by transforming the ungainly bass saxophone from an ugly duckling into a lithesome swan (as he also does on Django's classic "Nuages," with Charlie Giordano's accordion providing authentic period counterpoint). Fans of Carter's timeless tenor saxophone tone won't be disappointed by the tender inflections marking his intimate performance of "Django's Castle" and an original for his freshly minted baby daughter, "Imari's Lullaby." This is a big step up in class for the young heavyweight. --Chip Stern
Chasin' the Gypsy
Chasin' the Gypsy,James Carter,Atlantic / Wea,Gypsy,Jazz,Jazz Music,Pop,Post-Bop
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Chasin' the Gypsy
James Carter Manufacturer: Atlantic / Wea ProductGroup: Music Binding: Audio CD  Bebop General
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General
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Modern Postbebop
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Gypsy
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ASIN: B00004TJ75 Release Date: 2000-06-06 |
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Amazon.com's Best of 2000
For Chasin' the Gypsy, James Carter enlists violinist (and cousin) Regina Carter, drummer Joey Baron, guitar mainstay Jay Berliner, and several others to tackle this homage to Gypsy guitar virtuoso Django Reinhardt. The bustle and muscle are in balance, with accordion, steel-string guitar, bass saxophone, violin, and drums flawlessly chugging through these nine tunes. --Andrew BartlettAmazon.com
At first glance, jazz guitarist Django Reinhardt might seem an unlikely inspiration for a modern jazz saxophonist. But in referencing the fiery gypsy virtuoso (while employing dual acoustic guitarists), James Carter has fashioned his most compelling, fully formed recital as a leader. While his galloping soprano on the title tune enhances Carter's reputation as fiery technical craftsman (all the more joyous for the torrid exchanges with his cousin, violinist Regina Carter), Chasin' the Gypsy showcases his gifts as a torch player, while deepening his connections to the rich timbres, macho articulations, and swinging romanticism of the pre-bebop saxophone tradition. In the process, he finds provocative new applications for forgotten instruments of the 1920s. On "Oriental Shuffle," he elicits a ripe, bulbous tonality from the F Mezzo--like a soprano sax on steroids--carefully layering taut melodic nuggets until busting out in a Djangoish reverie. Even more satisfying is his portrayal of the classic chestnut "I'll Never Be the Same," in which James matches Regina's soaring lyricism by transforming the ungainly bass saxophone from an ugly duckling into a lithesome swan (as he also does on Django's classic "Nuages," with Charlie Giordano's accordion providing authentic period counterpoint). Fans of Carter's timeless tenor saxophone tone won't be disappointed by the tender inflections marking his intimate performance of "Django's Castle" and an original for his freshly minted baby daughter, "Imari's Lullaby." This is a big step up in class for the young heavyweight. --Chip SternCustomer Reviews:
Just open up your ears that little bit more ..........2005-02-19
Expect more.......2003-02-19
James Carter is a brilliant saxophone player; he has a superb tone and a technical facility that would make any self-respecting saxophone player drool with envy.
However, this is a double-edged sword, and the technique sometimes blinds him to good musicianship. For example, is the double-tonguing intro solo to Manoir De Mes Reves REALLY necessary? It sounds completely out of place with the rest of the song. Admittedly, it's impressive, but...
The other problem is the group. In general, they play very well (and Regina Carter plays brilliantly). however, anytime the two guitarists, Jay Berliner and Romero Lumbambo, go at playing, they get in one another's way, resulting in a really awkward blend. That, in turn, hurts everyone else. This, thankfully, doesn't happen too often (more in the ballad area), but it's enough to be noticeable and to detract.
I'm certainly glad I bought this - it has awesome moments. However, I just don't think it is QUITE what it should have been.
Perhaps his best.......2002-10-17
I recently bagged Wynton Marsalis for his tribute to Jelly Roll Morton. So why don't I do the same with Carter? The problem with Wynton is that while he often looks back on jazz history, he rarely looks forward beyond 60s mainstream jazz; never absorbing the avant-garde and fusion. In his celebration of the new millenium, Wynton only looked to the past, AND HE HAD 8 DISCS TO DO IT! Carter only used two. Carter did the right thing by looking back with at Django's brilliant work, but then he cleverly follows it up with a look forward with "Layin' In The Cut". That is the way a true jazz musician should be; look to the past to celebrate what has come before you, but look forward to what you are going to create as your own.
This disc has many highlights, most definately the best thing about it is the frequent use of the bass saxophone (and a nice use of the rarely heard f mezzo) and the high speed swing of "Chasin' the Gypsy". The use of period specific instrumentation (guitars, violin, accordion) is a real treat especially when his cousin Regina Carter is the violinist!
Beautiful Music.......2001-05-03
It's difficult to pin down what he's doing and where he's going because he is still BECOMING what he will be and I don't think he's established a pattern yet that allows us to predict his next recording efforts. No two of his albums have been the same.
Chasin'The Gypsy just blew me away! I've played it over and over and over again and I still love it for its richness of sound, its depth and multi-layered textures. My favorite Carter album had been The Real Quietstorm, a fascinating collection of ballads done in Carterian fashion, but now it has competition from Gypsy. If you haven't been introduced to Carter yet, start with these two CDs. But if you are a straight-ahead jazz fanatic, as I am for ballads, then try Layin' In The Cut or JC On The Set. It's all beautiful music. So, do yourself a favor and listen to this man!
What's next, Mr. Carter? I'm waiting in eager anticipation.
One of the best I've heard in years.......2001-03-16
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