Anthony Cooper 2008-08-03

2 of 2 people found the following review helpful:

James Carter starts "Present Tense" with a sort of juke-joint blues in "Rapid Shave". Trumpeter Dwight Adams takes the first solo, D. D. Jackson takes the second, then Carter plays a baritone solo. From the beginning, you can tell J. C. is going to rein himself in a little. Carter's greatest strength and weakness as a saxophonist is his virtuosic ability to play anything he wants. Sometimes, what he wants isn't what the song needs. Dwight Adams is a good foil for Carter - he gives Carter a chance to hand the reins over to someone else for a bit, and when Carter wants to cut loose, it sounds better when someone else is along for the ride. The only other place I've heard Dwight Adams is on "In Carterian Fashion", a Carter CD from 1998, and he doesn't make as strong an impression on that CD. "Bro. Dolphy" is a ballad on bass clarinet, and gets wilder toward the end. "Pour Que Ma Vie Demeure" is a Django Reinhardt song done as a ballad. "Sussa Nita" enlists guitarist Rodney Jones and percussionist Eli Fountain to help make bossa nova sounds. It's a little too smooth until J. C. plays a forceful tenor solo with his broad distinctive tone. The rest of the band livens up nicely. "Song Of Delilah" is an old song, and after the "Middle Eastern" intro is over, it has some nice bouncy interplay between Carter and Adams. Bassist James Genus and drummer Victor Lewis do a nice job of meeting the demands of each song. "Dodo's Bounce" features Carter's flute. "Shadowy Sands" is a midtempo tune with bass clarinet. "Hymn Of The Orient" continues the theme of Middle Eastern song titles, but this one is a fast Gigi Gryce song with a quick melody. J. C. features the baritone sax, and ends the song with a Lynyrd Skynyrd-esque validictory statement. "Bossa J. C." has a descriptive title - it's a gentle ride. "Tenderly" is gentler, and has more interaction between Carter and Adams.

This CD has mostly old songs, and you could imagine a session with similar material done in the 60's. However, this is music most certainly in the "Present Tense" -- Carter's style doesn't look back, even if the songs do. Carter plays it relatively tasteful - he'll probably always have some show-off in him - and the result is a success. It's about as good as his CD's "The Real Quietstorm", "Conversin' With The Elders", and "In Carterian Fashion". So, Carter fans will like it, and anyone curious about James Carter should get this CD as well.

Louis J. Perillo 2008-05-22

3 of 3 people found the following review helpful:

This is a fine Modern Jazz CD, which has enough traditional elements to make it appeal to lovers of music across a broad spectrum. Tenderly is the most obvious nod to tradition, but the album is great throughout at combining the past with the present like a skilled Alchemist. The best highlights, for me, are when pianist D.D.Jackson takes center stage. I'd recommend checking out his CDs to get a taste of what wonderful composing and playing still exist nowadays in Jazz.

India 2008-05-22

17 of 17 people found the following review helpful:

The Detroit saxophonist James Carter was one of many 1990s jazz newcomers who thought revisiting the tradition was a better idea than inventing a music nobody had heard of before. But if Carter, a multi-reeds specialist (he plays most of the saxes, plus flute and clarinets), has never been a radical, he has been a sensationally exciting traditionalist, bringing the sounds of jazz's landmark moments alive as few can.
The renowned producer Michael Cuscuna thought Carter's power, range and inspiration had never been properly captured on a single album.
Hence this one, which embraces most styles, and Carter's entire arsenal, with the help of a young postbop band who play everything as if it were brand new.
The album starts off with a Blue Note-ish hard-bopper (with Carter's typical atmosphere of bar-room jive), and runs through a free-jazz homage to Eric Dolphy, a reflective soprano-sax rhapsody, a Latin shuffle on tenor that nods to Sonny Rollins, a lovely account of "Tenderly" (with trumpet player Dwight Adams in 1950s muted-Miles mode) and some easygoing funk.
The whole set is a jazz history, rescued from cheesiness by Carter's mastery of every technical detail.
The disc captures a wide-ranging selection of his musical preoccupations, from the Django Reinhardt ballad "Pour Ma Vie Demeure" to bop burners such as Stanley Turrentine's "Rapid Shave" and Gigi Gryce's "Hymn of the Orient".
"Present Tense" is a showcase for Carter's instrumental versatility - he is featured on tenor, soprano and baritone saxophones, flute and bass clarinet, and sounds equally at home on all of them.
The bass clarinet feature on "Shadowy Sands" is a tribute to the great baritone player Harry Carney, while his own "Bro. Dolphy" is dedicated to Eric Dolphy.
Trumpeter Dwight Adams makes his own pungent contributions alongside the saxophonist, while the rhythm section of D.D. Jackson on piano, James Genus on bass and drummer Victor Lewis is top-drawer. Rodney Jones adds guitar on three tunes.
My favourite tracks: "Rapid Shave", "Bro. Dolphy" and "Shadowy Sands".
Have a great listening experience.