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Showtime: 8:00PM
Doors Open at 6:00PM

$15.00 $27.50

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James Carter w/John Medeski, Adam Rogers, Christian McBride Joey Baron
James Carter, saxophones
John Medeski, organ
Adam Rogers, guitar
Christian McBride, bass
Joey Baron, drums

James Carter has assembled an all-star cast of musicians to make a live recording for Half Note Records during their Blue Note debut from May 5 - 10.

Given the plaudits saxophone powerhouse James Carter has garnered for his role in helping to propel jazz full tilt into the future over the past two decades, it’s surprising to discover that his contemporary spin on jazz continues to be fueled by deep respect and intimate knowledge of the tradition. Given his love of classic jazz, Carter was erroneously grouped into that ‘90s catchall category of young jazz lions. But instead of expressing jazz neoconservatism, he was in motion, breaking new ground with his trad-meets-avant style of propulsion and his dazzling displays of reeds pyrotechnics as well as his heartfelt romanticism.

Carter launched his solo career with two superb DIW/Columbia discs. Recorded in 1993 and 1994 respectively, JC on the Set and Jurassic Classics, were initially released in Japan and then issued in the U.S. Both were huge successes that prompted the All Music Guide to Jazz to proclaim, “James Carter has unlimited potential, and he seems destined to be one of the giants of jazz.” Soon he was being dubbed the Motor City Madman, based on his distinctive and oftentimes thrilling style.

In 1994, Carter signed with Atlantic Jazz and recorded a series of superb albums, beginning with his all-ballads gem, The Real Quietstorm, inspired by the B-side of Charlie Parker’s Bird Symbols LP. In 1995, Rolling Stone hailed the charismatic Carter as an up-and-comer to watch, and a few years later the magazine gave him high scores for the two CDs he simultaneously released in 2000 (his final releases on Atlantic, which soon dissolved its jazz division): the funky-vibed Layin’ in the Cut (his first album with an all-electric band, featuring among others guitarist Marc Ribot) and the Django Reinhardt-inspired Chasin’ the Gypsy (which included his cousin Regina Carter on violin and Romero Lubambo on guitar). The doubleheader was well-received in both pop and jazz circles. Rolling Stone wrote that “...saxophonist James Carter is as near as jazz gets nowadays to a Young Turk—not some ironically avant-post-rock experimentalist but a cocky scene stealer with...a knack for coming up with noticeable records.”

When his former producer Yves Beauvais moved from Atlantic to Columbia, Carter followed in 2002 and a year later recorded a new album of ballads with strings, titled Gardenias for Lady Day. Also in 2002 Carter garnered rave reviews for his appearance with the Detroit Symphony Orchestra in the Concerto for Saxophones and Orchestra written specifically for him by composer Roberto Sierra. In 2004 Carter received the Dr. Alaine Locke Award, given annually to individuals who have provided exemplary service and leadership.

The winner of several DownBeat critics and readers polls, Carter today continues to tour with his organ trio and often subs in the World Saxophone Quartet. Carter recorded his trio in 2005 for the Half Note release, Out of Nowhere, and in 2006 recorded Gold Sounds (Brown Brothers Recordings) with pianist Cyrus Chestnut, bassist Reginald Veal and drummer Ali Jackson in a collaborative outing of covers of songs by the pop band Pavement.

When Carter arrived on the jazz scene in the ‘90s, he was viewed as a brash youngster chomping at the bit to burst out of the gate with his saxophones. A couple of years ago when asked if his life as a soloist and bandleader had changed since he was in his thirties, he replied, “Well, I still feel the same way, but I’m able to use all the different shapes and forms in my playing better.” He paused, then added with a mélange of metaphors: “I can ping pong with someone just as well as throw the shot put. And I can do everything else in between. There are more than just a couple of events in a decathlon. I want to play a piece differently every time. That’s a hell of a tightrope walk. But when you have different attacks in your arsenal, it’s a much easier balancing act.”


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