James Carter - I Wonder Where Our Love Has Gone
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- Опубликовано: 12 дек 2009
- James Carter doing what he does best at the Fujitsu Concord Jazz Festival in '97 (according to the banner behind him).
Rights to this video DO NOT belong to me.
I BELIEVE that James Carter is playing the following set up:
Conn Chu Tenor Sax
Lawton Brass Mouthpiece 7BB
Rico Plasticover size 3
I have heard rumors that his tenor in this video is a Conn Chu (yes, I know that he is endorsed by P. Mauriat and he was endorsed by Yamaha). I believe that he has replaced the older keywork on the Conn with a modern Yamaha keywork. His mouthpiece is a Lawton 7BB mouthpiece handmade by Geoff Lawton before his passing.
I was just waiting for beast mode and before I knew it we were there...this guy nails what the tenor sax is all about, snarling, intense, foreboding and seductive all at once. And that whistle was the perfect way to break the tension, almost a set piece. Man I love this guy
A couple of years before his physical demise, as he was being showered with endless praises for his surrealistic excellence on the alto saxophone by the great melodic alto saxist Paul Desmond, Charlie Parker predicted that "some youngster will come along and do great wonders on the saxophone" to the point of eclipsing Parker himself.
Parker's prediction has certainly borne fruits in the person of James Carter - a full generation and a few years after his (Parker's) prediction.
Best ballad performance - and with full techniques and embellishments to match...
I love this music...this is one of the best that I have heard him play
The horn is a 'Blashaus' 1926 Conn New wonder with yamaha key work and custom 'Buck Rogers' 30M style octave mech. Body is cut and realigned but is all Conn. The work was done in Switzerland by Martin Suter and now cost over £10,000 with taxes etc NIce kit but the same can be done for a lot less by several Uk repairers. Mouthpiece is a Lawton 7* BB. Happy days J
He's playing Converted Conn Chu Berry "Black Pearl". Craftsman Martin Suter in Zug (Switzerlarnd) had the brilliant idea to fit the Conns with a Selmer keywork. The first series of these instruments is sold, but what I know is that he plans to manufacture a second one.
Owns the crowd whistler at 7:05!
James Carter tailors and embroiders the ballad with soulfulness and rhapsodic romanticism.
This is no doubt the greatest example of James Carter's music on youtube, thanks for posting it (back again)
Thanks so much for letting me discover this marvellous ballad.
James Carter is tremendous and he knows it.
Tiene una técnica de respiración que le permite soplar sin parar. Fíjate en torno al minuto 6.50
Best wishes from Salamanca, SPAIN!!!.
I play the Chu Berry for several years.My horn was made in 1926.The serial number of my tenor sax is 168XXX.Now I can not imagine to play other horn.It may not be easy to play, cumbrous but that's the only one minor thing!.I have also Chu alto and baritone. Personally, I think James Carter sounded great on this record, and he did a unbelievable job.As my second favorite Joe Lovano both sounded best plays Chu Berry.
Best of the best!
Damn!! I’m a guitar player and now I want to learn to play a sax! This cat is incredible!
Just to recomment ?-- it 's a 1927 Conn 'New Wonder' tenor body /bow /bell /rolled tone holes etc which has been 'cut' and realigned in the middle of the body below the G# tone hole to replicate the Selmer 'Balanced Action ' finger /hand angles. New key work similar to Yamaha and a PanAM neck with custom 'Buck Rogers ' octave key. Feels like a new horn but is all 1927 Conn sound. JC could play an old hose pipe with his current 11Star Geoff Lawton BB Special M/P stuck on the end and still make us all weep ! He's not good - he's so good! NIce bloke too.
An exceptional sax player. Thank you for your performances.
Nice sound... it even sounds like a string instrument in certain spots.
Saxman714 has it right, I know he has it, over the top, but I can't listen to it for long, though I would like to play as well. Back to the Unknown Tenor 91 yrs old and musical as hell, old school. Aubra Graves, can't get enough.
thats his voice man
I'd love to have done to my old Conn Lady Face baritone what he has with his modernized key work. That would complete that horn for me. Someday when I can find technician-heaven and a good stack of cash.
Simplesmente monstro!!!
Großartig .
Its a Pan AM neck with custom octave mech. Similar to 30M .Jonny
Una delicia.
i like the fifth pattern he plays and wen he copies the guy lol
O assobio foi o melhor.. Kkk
At 7:05 that was hilarious. Damn...
Great sax, I'm sure its a Lawton, I think is not 7Star*BB probably a more opened one.But this is very hard to obtain that sound and feeling with a plastic cover.
FUL!!! SAX!!! TENOR CARETER!!!
omg, at 7:07 :D i can´t stay anymore!! :D
If you have the chops why not show them? Keep blowing it down, Mr. Carter.
@jazzway I was focused on the altissimo, and suddenly came a whistle :O
i dont know about the horn, but the neck is unique...
7:04
I, hear Bits of Albert Ayler in there ...
Conn Chu Tenor Sax series?
im search it for purchase :S
gravatinha massonica ; ta tudo contaminado
is that a king super 20 hes playing cause i know some of them have the neck like that
I think the only problem I have with James is that he is too technical with his playing. He does a lot of this fancy stuff when he really doesn't need to, like how he doesn't really play the head straight ever. I know how much of a monster he is but I think the only thing he lacks is knowing when to play normally and when to play around with it.
thesaxman714:
Mr. James Carter is a Jazzman; he is not a Pop player, per se.
James is a Jazzician of Organic Real Jazz opulence.
His is a conversation, almost exclusively, for lovers and connoisseurs of J A Z Z.
The same wet-blanket observation was hurled at Charlie Parker and John Coltrane.
Approximately 62-years and 49-years went by since their deaths - Charlie Parker's and John Coltrane's respectively.
Today, every young saxist who desires to be saxophone skillful listens to, studies and imitates these two giants - irrespective of his/her target genre, the apprentice sax-person does.
Jazz, not unlike European Classical music, sets the creative bar astra-spherically high; making money is subordinate to the creative aestheticism of the music - Organic Real Jazz Music.
Another James Carter will happily emerge within a generation or two. We have to be ready - as "lovers" of improvised creativity.
Even though I do appreciate your concern, be persuaded that in Organic Real Jazz - NOT necessarily in Pop, RnB, RnR, Soul etc - the listener has got to have a receptive mind.
Oh, Creativity!
Oh, Creativity!
Oh, the jazzman objective!
Maybe, instrumental Pop, Folklore, RnB, Country and Western, Gospel, etc will suffice for the entertainment of some - and that too is magnificent.
To each, his own; isn't it?
To Jazz; or, not to Jazz must be the primary concern!
One whistles an altissimo passage from within the audience. James hears; for he listens while he discourses.
He immediately picks up the Altissimo (Out-of-range Overtone) Fragment and incorporates it in his improvisation - doubtlessly, the feat of a surrealistic genius; isn't it?
James makes the tenor saxophone wail, cry, romance, weep tempestuously and battle belligerently.
There is a touch of Circular Breathing. Then, in the manner of a canine coach and lover, James kisses the tenor saxophone as if to say: "Thank YOU SIR; well done!"
He smiles with contentment and exits - James does.
I Agree !
This is a repeating comment on Carter's playing. If you would know his most recent work you would know that it is incorrect. His Present Tense, the Concerto, and some of the recent live recordings, prove you wrong.
great before he started al that popping and slapping crap