Ron Carter - Ron Carter Plays Bach

Ron Carter - Ron Carter Plays Bach
Жанр: Hard Bop, Post-Bop
Страна-производитель диска: Япония
Год издания диска: 1991
Издатель (лейбл): Philips
Номер по каталогу: UCCU-5183
Страна: США
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 46:03
: warbas, SS6apaBASS
: нет
Треклист:
01. Suite I: Courante
02. Suite I: Menuetto I
03. Suite I: Menuetto II
04. Suite I: Gigue
05. Suite II: Menuetto I
06. Suite II: Menuetto II
07. Suite II: Gigue
08. Suite III: Courante
09. Suite III: Bourree I
10. Suite III: Bourree II
11. Suite IV: Bourree I
12. Suite IV: Bourree II
13. Suite IV: Gigue
14. Suite V: Gigue
15. Suite VI: Gavotte I
16. Suite VI: Gavotte II
17. Lute Suite: Praeludium
18. Suite II: Sarabande
19. Suite II: Gavotte II
Ron Carter - double bass, piccolo bass
Recorded at Clinton Studio, New York on December 15, 16, 17, 1991.
All music written by J.S. Bach. All arrangements by Ron Carter.

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Review from

By frankp93 frankp93 (Connecticut United States)
Ron seems to have ruffled some feathers among the self-annointed Keepers of Conventional Practice. How dare this Eastman/Mahattan School masters graduate set foot in the rarified halls of AUTHENTICITY!
Having sat through more than my share of sewing-machine baroque-ishness by performers whose primary claim to fame seems to be looking good in a strapless gown, Ron's interpretations bring something to the table that's worth being open to.
Classically trained musicians - particularly those with no ability whatsoever to improvise (unlike J.S. himself, Mozart, Schubert, et al.) can learn something from a jazz musician's sense of linear forward motion in the service of functional harmony along with polyrhythmic superimposition. If it's ok for Casals to contract half-steps practically to the point of out-of-tuneness because he understood it hightened tension, why must it be such a stretch to hear the same in jazz?
Is this Definitive Bach? Of course not, such a thing doesn't exist. That's why this music has endured for centuries and continues to speak to us and invite musicians of all stripes to commune with it.
By K. MIURA koshiro (Japan)
I thought, that the African-American could not play European dance music. But I was wrong. Ron's play tought it to me. I respect his research of Bach. And after all his play is successfully done. He is a nice interpreter of the melody, harmony and rhythm of Bach's Cello Suites. I like Ron's Bach more than many recordings of classical musicians, for it is one of the minor cases for me, that do not make me bored.
Recorded 1985
By Leonardo Burci (Kronberg, Germany)
Unfortunately the first two reviewers are spot on.
Carter plays these wonderful pieces in a casual almost sluggish way. It is hard not to associate a beginner struggling with his instrument while trying to play a piece to difficult for his abilities. This is not a question regarding the preference of an interpretational style over the other. The disappointing fact is that Carter doesn't play any Bach at all. Not on this record. Carter is a wonderful Jazz bassist - how sad to hear this nonsense from him.
By tom (Scottsdale, AZ, United States)
If classical music were a religion, its adherents would find this recording to be the most offensive and degrading sacrilege imaginable. Fortunately, it is not, and all Ron has managed to offend here are the musical sensibilities of his listeners.
No need to go into details; they might distract from the point. Ron is not capable of playing this kind of music, and he should stop trying to do so outside his own practice room. I like to sing in the shower, but I wouldn't misuse any fame I have to release my own album of arias. Mr. Carter lacks such restraint.
If you're aware of Mr. Carter's tendency to speak of himself as a classical bassist, whining that racism in the classical community prevented him from having a career, it might actually be worth your time to check these recordings out. He somehow fails to understand that the real reason he couldn't make the Philharmonic is that he sounds utterly terrible; in missing this obvious point, Mr. Carter does a disservice to those who actually have faced such struggles.
But I digress: Mr. Carter's Bach albums have value only as novelty items, to gawk at with other musicians who are aware of his great accomplishments in jazz. Shame on Universal, Blue Note Records, and any other company that affords this deluded old jazz legend the chance to make an ass of himself.
By Vincent Osborn Vince (Duluth, MN)
When I first heard about this CD I couldn't wait to get it - after I got it, I couldn't listen to it. This CD is just awful. Ron Carter is a fabulous jazz bassist, but he has no business recording Bach and trying to tell us it is something of quality. It is an insult to all the great and aspiring classical bassists who can really play these works. Then, if this recording isn't bad enough - he follows it with another: Ron Carter Meets Bach, which is worse than this one. Shame on Ron Carter and Philips - they should know better than to distribute this garbage. If you're interested in hearing the Bach Cello Suites on the bass, check out the recordings by: Gary Karr, Edgar Meyer, Owen Lee, or Mark Bernat. You will be amazed at how really wonderful a bass can sound.