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| Live and Well in Japan | 
 enlarge | Artist: Benny Carter
Creators: Budd Johnson, Mundell Lowe, Cecil Payne, Cat Anderson, Joe Newman, Nat Pierce, George Duvivier
Label: Ojc
Category: Music
List Price: $11.98
Buy New: $6.99
You Save: $4.99 (42%)
New (1) Used (4) from $6.39
Avg. Customer Rating:  3 reviews
Sales Rank: 218264
Format: Live
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
UPC: 025218673624
EAN: 0025218673624
ASIN: B000000YXQ
Release Date: November 10, 1993
Availability: Usually ships in 1-2 business days
Condition: Brand new, factory sealed. Fast shipping!
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| Tracks:
| • | Squatty Roo | | • | Tribute To Louis Armstrong: A) When It's Sleepy Time Down South B) Confessin' That I Love You C) When Your Smiling | | • | Them There Eyes | | • | It Don't Mean A Thing (If It Ain't Got That Swing) |
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| Customer Reviews:
Live jazz, swing and blues! July 7, 2007
3 out of 3 found this review helpful
Recorded live at Kosei Nenkin Hall in Tokyo, Japan in April 1977, this is yet another CD I bought for just the one track even though I had previously vowed I would never do it again. This time it was for "Tribute to Louis Armstrong" and it's another song I've had on cassette since my college days back in the 80s.
And again I struck it lucky as the rest of the album is very good. It's a truly beautiful mix of jazz, swing and blues. Carter plays alto saxophone and trumpet, Budd Johnson plays tenor and soprano saxophones, Cecil Payne plays baritone saxophone, Britt Woodman plays trombone, Cat Anderson and Joe Newman play trumpet, Nat Pierce is on the piano, Mundell Lowe on guitar, George Duvivier on bass and Harold Jones on the drums. I was particularly surprised to learn that the vocals on the third part of the tribute ("When You're Smiling") was in fact sung by trumpeter Cat Anderson. He sounds so much like Satch, I would've sworn it was the great man himself guest performing.
The entire album is only 42 mins or so long but I still feel it's great value for money. It has one of the best examples of audience enthusiasm and participation that I've heard on any live album. Great stuff.
Recomendo September 2, 2007
2 out of 2 found this review helpful
Pelo fato de ter sido uma pessoa absolutamente normal durante toda sua longa carreira, Carter nao costuma ser muito festejado nos meios jazzisticos. Sem a ira dionisiaca de um Charles Mingus, sem a excentricidade esquizofrenica de um Thelonious Monk e sem o sorriso perigoso de Duke Ellington, Carter dificilmente e citado como um dos maiores musicos do jazz. E grande o engano ou flagrante a injustica coloca-lo no segundo escalao.
Carter e, entre outras coisas, o melhor arranjador da transicao entre as decadas de 1920 e 1930, epoca em que Heisenberg proclamava o principio da incerteza na Fisica. Tendo aprendido o oficio da orquestracao por conta propria, chegou a rivalizar e ate mesmo superar alguns mestres da epoca, como Don Redman. Fugindo ao modelo de sucesso facil oferecido pelo swing, estilo que assolava o EUA nesses tempos, Carter construiu uma obra genial com humildade, independencia e sensibilidade. Sua obra somente pode ser comparada a montanhesca criacao da dupla Ellington & Strayhorn. Ao contrario do trabalho de Ellington, essencialmente instrumental, as composicoes de Carter sao extremamente `cantaveis', caracteristica que comprova sua veia de grande solista.
Alem do trabalho como arranjador e compositor, Carter era um eximio instrumentista, capaz de cantar, tocar piano, trombone, trompete e os saxofones soprano, alto e tenor. Embora excelente trompetista, foi com o sax alto que Carter se destaca como um dos mais importantes improvisadores do jazz: suave, doce e tranqueilo, nem mesmo a velocidade assustadora imposta por Charlie Parker foi capaz de ofuscar a beleza de seus solos. Sua sonoridade unica influenciou varios mestres do saxofone, entre eles Sonny Rollins. Carter era o tipo de pessoa que, assim como o inigualavel Lester Young, apesar de negro, nunca teve vergonha ou malicia em negar a profunda influencia recebida de Frank Trumbauer, um excepcional saxofonista branco renegado no jazz por sua cor. Para Carter a beleza da musica estava acima do racismo irracional.
Carter provou com seu trabalho que nem toda musica doce e agradavel e necessariamente musica de elevador ou de consultorio dentario. Sua obra comprova que a musica pode ser inteligente e complexa sem ser necessariamente chata e inaudivel. Ele sabia, mais e melhor que todos nos, que o sucesso obedece cegamente ao principio da incerteza, principalmente When Lights Are Low. Mas o mestre, e claro, nao se importava com isso.
No ! You can't ! December 26, 2006
1 out of 2 found this review helpful
One can't do anything else but to be listening to the tracks of this record from start to finish. I've heard in a documentary that Louis Armstrong was the king of Jazz, well, our man Benny deserves this title just as much. He plays trumpet and alto sax during this brilliant big band concert in 1977. And of course, he made most of the arrangements.
Features Cat Anderson (Trumpet), Budd Johnson (Soprano & Tenor Sax), Mundell Lowe (Guitar), Joe Newman (Trumpet), Cecil Payne (Flute), Cecil Payne (Baritone Sax), Nat Pierce (Piano), Britt Woodman (Trombone), George Duvivier (Bass) & Harold Jones (Drums).
Also check for his teaming works with producer and other incredible bandleader Quincy Jones...
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