Bill Carrothers - Sunday Morning

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 51:11
Size: 119,5 MB
Art: Front

(1:50)  1. Oh Gold Our Help in Ages Past
(4:53)  2. Jesus Loves Me
(5:36)  3. Children of the Heavenly Father
(5:14)  4. Beautiful Savior
(2:46)  5. Eternal Father, Strong to Save
(2:56)  6. A Mighty Fortress Is Our God
(4:51)  7. Just a Closer Walk with Tree
(1:10)  8. Crown Him with Many Crowns
(3:51)  9. Watchman, Tell Us of the Night
(4:52) 10. This Is My Father's World
(3:28) 11. Lift High the Cross
(5:10) 12. Just as I Am, Without One Plea
(3:07) 13. The Lord's Prayer
(1:21) 14. Oh God, Our Help in Ages Past

Sunday Morning by jazz pianist Bill Carrothers is a recording that comes straight from the heart. It brings together music of the church (where Carrothers learned to play the piano) and the cotton fields of the American south. The result is something not quite jazz, not quite gospel and not quite classical, but something totally unique and glorious. Carrothers is joined here by his wife Peg Carrothers on vocals, clarinetist Jean-Marc Foltz, cellist Matt Turner, bassist Nicolas Thys and a full gospel choir. ~ Editorial Reviews https://www.amazon.com/Sunday-Morning-Bill-Carrothers/dp/B00EPMODPW

Personnel:  Piano, Arranged By, Conductor [Choir] – Bill Carrothers; Cello – Matt Turner;  Clarinet [Clarinets] – Jean-Marc Foltz; Double Bass – Nicolas Thys;  Voice – Peg Carrothers

Sunday Morning

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Bill Carrothers - I Love Paris

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 64:24
Size: 148,7 MB
Art: Front

(7:25)  1. Beyond The Blue Horizon
(6:51)  2. Brother, Can You Spare A Dime?
(6:10)  3. Button Up Your Overcoat
(8:15)  4. Stars Fell On Alabama
(7:55)  5. I Love Paris
(6:08)  6. It's A Blue World
(6:34)  7. I Apologize
(7:57)  8. Moon Love
(7:05)  9. Sleep Warm

One great thing about jazz is that an artist is more likely to be measured by his or her career arc, rather than the success or failure of a single release. It also means that, when an artist releases a career-defining record, subsequent releases are less likely to measured against it. Instead, they are seen within the broader context of the artist's larger body of work. Take pianist Bill Carrothers, whose Armistice 1918 found its way onto many a reviewer's 2004 top ten list. An ambitious work that integrated Carrothers' not inconsiderable musical talents with his interest in history, the sprawling two-disc release also raised the bar for integrating visual arts with music the packaging of the disc by Philippe Ghielmetti of the sadly now-defunct Sketch Records was as beautiful as the music's narrative was vivid and poignant. That an artist like Carrothers could create such a powerful and moving piece of work at such a relatively early stage in his career clearly portended greater things to come.  If Armistice 1918 were a rock record, the industry would be looking for his next step to be even bigger. Thankfully the jazz world is less driven by such concerns. While Carrothers' followup, I Love Paris, may not have the kind of grand ambition of Armistice 1918, it's every bit as compelling just in a smaller, more intimate way. Moving ahead in time from the music of the First World War, Carrothers brings together nine tracks from the 1920s through 1940s; some familiar, like Cole Porter's title track, others less well-known by name, but like some of the music on Armistice 1918 such a part of the larger collective unconscious that one recognizes them without actually knowing them. And, true to form, Carrothers manages to show just how far you can stretch the mainstream while still remaining within its general boundaries. 

Carrothers is a harmony-rich player with an uncanny ability to see the greater potential of both hands in concert. While some pianists are fairly linear with their right hand and eke out accompaniment with their left and there are times when Carrothers is more linear he has a vivid sense of larger voicings, like British pianist John Taylor, sometimes creating eight- and nine-part harmonies that move smoothly, and in ways that makes every subsequent note feel perfectly logical, yet somehow unpredictable. Bassist Nicolas Thy and drummer Dré Pallemaerts are intuitive players, supporting Carrothers as much as pushing him into areas of further possibility. While an underlying sense of swing pervades the entire set, the trio also takes more liberties; the title track and "Moon Love serve as examples of how familiar tunes can be re-imagined recognizable yes, but undeniably new as well. With a gradually growing and significant body of work, Carrothers is clearly an artist to keep an eye on, and I Love Paris is another fine addition that skirts the mainstream while providing plenty of surprises for the more adventurous at heart. ~ John Kelman https://www.allaboutjazz.com/i-love-paris-bill-carrothers-pirouet-records-review-by-john-kelman.php?width=192

Personnel: Bill Carrothers (piano), Nicolas Thys (bass), Dré Pallemaerts (drums).

I Love Paris

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Scott Colley - Subliminal...

Styles: Jazz, Post-Bop
Year: 2006
File: MP3@320K/s
Time: 58:32
Size: 134,4 MB
Art: Front

(5:53)  1. Don't Ever Call Me Again
(8:17)  2. Subliminal
(4:38)  3. The End And The Beginning
(7:37)  4. Turangalila
(7:34)  5. Out Of The Void
(5:39)  6. Segment
(6:11)  7. Is What It Is
(6:15)  8. Impossible Vacation
(6:25)  9. Verbatim

Scott Colley's writing reaches new heights on this very fine record. Joined by Chris Potter on tenor sax and bass clarinet, Bill Carrothers on piano, and Bill Stewart on drums, the bassist delivers some of his most memorable compositions to date. "The End and the Beginning," an uncommonly serene ballad, stands out among the others. But "Out of the Void" is also excellent, as are the hip title track and the veiled Cole Porter salute "Is What It Is." (Carrothers lays out on these latter two.) Potter and Stewart also contribute one composition each, and the quartet runs down Charlie Parker's classic blowing vehicle "Segment," with the drums soloing first -- not something you hear every day. A superb, well-rounded, cohesive effort. ~ David R.Adler  http://www.allmusic.com/album/subliminal-mw0000044517

Personnel: Scott Colley (bass); Chris Potter (tenor saxophone, bass clarinet); Bill Carrothers (piano); Bill Stewart (drums).

Subliminal...

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Bill Carrothers - Home Row

Bitrate: 320K/s
Time: 61:48
Size: 142.2 MB
Styles: Piano jazz
Year: 2008
Art: Front

[ 5:56] 1. When Will The Blues Leave
[12:23] 2. Jesus' Last Ballad
[ 6:20] 3. A Squirrel's Tale
[ 5:45] 4. Hope Song
[ 8:23] 5. My Heart Belongs To Daddy
[ 6:16] 6. Off Minor
[ 5:13] 7. Lost In The Stars
[ 7:08] 8. Home Row
[ 4:20] 9. Ballad Of Billy Milwaukee

Pianist Bill Carrothers is joined by bassist Gary Peacock and drummer Bill Stewart for this stunning trio session, a compelling mix of originals, standards, and arrangements of jazz compositions by others. Ornette Coleman's quirky blues "When Will the Blues Leave?" and Thelonious Monk's "Off Minor" are full of humor. The dark, haunting "Jesus' Last Ballad," which was a prominent selection on the collaboration between the late pianist Bill Evans and harmonica virtuoso Toots Thielemans (though Thielemans is incorrectly credited as composer instead of Gianni Bedorri), unwinds slowly in a rhapsodic treatment, with Peacock's understated bass and Stewart's minimal brushwork complementing the leader. Carrothers' brisk, angular setting of Cole Porter's "My Heart Belongs to Daddy" is a delightful romp, while his spacious arrangement of "Lost in the Stars" emphasizes its lyricism. The pianist's originals are equally strong. The rambunctious "A Squirrel's Tale," with its sudden changes in direction, is full of whimsy, while "Home Row" is a spirited, unconventional blues. Highly recommended! ~ Ken Dryden
Recording information: The Studio, New York, NY (01/18/1992/01/19/1992).

Bill Carrothers (piano); Gary Peacock (bass instrument); Bill Stewart (drums).

Home Row

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