Ron Carter’s Great Big Band: Ron Carter’s Great Big Band

Philip Booth reviews the legendary bassist's new CD

Given the thousands of recordings that Ron Carter has played on, it’s surprising that Ron Carter’s Great Big Band is the masterful bassist’s first session leading a large ensemble. Tapping the talents of prolific jazz and pop arranger Robert Freedman, pianist Mulgrew Miller, drummer Lewis Nash and a roomful of first-call hornmen, Carter turns in a 13-track program that makes a refreshing-not stuffy-jazz-history survey, with music dating all the way back to W.C. Handy. Underneath it all, Carter drives the tunes, including two of his own, with typically impeccable time, tone that’s woody and resonant, and adroit note choices.

The Latin-tinged pieces are among the standouts on the disc. A shimmering version of Dizzy Gillespie’s “Con Alma” opens and closes with a brass choir, and features a slipping-and-sliding Carter solo as well as dazzling, economical turns from Miller, trumpeter Greg Gisbert and alto saxophonist Steve Wilson. Jerry Dodgion’s bright, inquisitive soprano sax rides atop a version of Ellington’s “Caravan” characterized by a sneaky intro, staggered brass and some intriguing detours.

Freedman nods to the classic ’40s big-band sound on a couple of occasions, with an update of Sy Oliver’s “Opus One,” penned for the Tommy Dorsey Orchestra and here led off by bass trombonist Doug Purviance, and Tom Harrell’s retro-minded “Sail Away,” with relaxed solos by Miller, trombonist James Burton III, Carter and tenor saxophonist Wayne Escoffery. The band also ventures into hard bop, with a fiery take on Sonny Stitt’s “The Eternal Triangle”; cool-jazz climes, with Gerry Mulligan’s tuneful “Line for Lyons” and John Lewis’ “The Golden Striker”; and soul jazz, with a grooving take on Nat Adderley’s “Sweet Emma.” Carter even offers a pleasant return trip to Wayne Shorter’s “Footprints,” which the bassist, 74, helped make famous as part of Miles’ Second Great Quintet.

Philip Booth

Philip Booth is a longtime arts journalist and bass player based in Florida. Formerly the pop music critic for the Tampa Tribune, he has contributed to many national publications, recently including the Washington PostJazziz, and Relix. His byline also has appeared in DownBeat, Bass Player, Billboard, Variety, Spin, Rolling Stone, and several academic journals. The debut CD from his band, Acme Jazz Garage, gained airplay on about 35 radio stations across the US.