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Mar. 17--Everyone in jazz knows that James Carter ranks among the most accomplished saxophonists working today.
It's a pity, though, that Carter feels compelled to prove it with practically every phrase he plays.
Unleashing a torrent of novelty effects, bravura passages, thundering fortissimos, crying high notes and tremulous low ones, Carter left nary a stunt untried Tuesday night at the Jazz Showcase. Honking, squealing, braying, whinnying and whatnot, the saxophonist seemed determined to italicize his every gesture.
No doubt there's a certain thrill in hearing so much sound manipulated so adroitly by a performer who's equally adept on tenor, soprano and baritone saxophones. His mastery of winds is so complete, in fact, that one wouldn't be half-surprised to hear him produce comparable feats if he were blowing into a Coke bottle.
Add to this the gargantuan size of his sound and the apparently infallibility of his technique, and you have an artist who essentially renders a microphone unnecessary.
How much all this ostentation has to do with making music is another matter. Barely catching a breath between phrases, pushing from one screaming riff to the next, Carter did not exactly display a high degree deal of subtlety on this occasion. Granted, Carter devotees could argue that his brand of pyrotechnics was appropriate to this band, a hard-charging organ trio. Even so, the relentlessness of Carter's sonic onslaught, which seemed designed to vanquish the audience rather than persuade it, quickly became grating to at least one listener. When a performer opens a set blasting away for all he's worth, there's nowhere left to go.
Carter, it must be acknowledged, certainly reaffirmed the breadth of his technical achievements. Barreling through the Art Ensemble of Chicago's "We Bop," creating comical canine sounds on "Walkin' the Dog," quoting deftly from a deep repertory of jazz anthems, the saxophonist reminded listeners that there's a nimble intellect beneath this musclebound playing.
When it comes to matters of taste, expressive range and aesthetic purpose, however, Carter did not impress.
Drummer Leonard King, alas, only added to the frenzy, bashing downbeats mercilessly. In the face of all this self-adulation, organist Gerard Gibbs deserved a medal for showing a degree of restraint--an ability to say more with less.
JAZZ NOTE: The Jazz Showcase has announced its spring season: Danilo Perez, March 21-26; Joey DeFrancesco, March 28-April 2; Tom Harrell, April 4-9; Rob Parton Big Band, April 19; Dee Dee Bridgewater, April 13-16; Mulgrew Miller, April 18-23; Ira Sullivan, April 25-30; Rufus Reid, May 2-7; Denny Zeitlin, May 10-14; Phil Woods, May 16-21; and Dena DeRose, May 23-28.
James Carter
When: Through Sunday
Where: Jazz Showcase, 59 W. Grand Ave.
Price: $20-$25; call 312-670-2473
hreich@tribune.com
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