James Carter
Saxophones
James Carter was born in Detroit and grew up in a musical family, where he was constantly exposed to music – everything from Hendrix to P-Funk to Miles. At the helm of his musical development is local bebop scene veteran Donald Washington, who taught James to play his instrument while imparting his special brand of wisdom. After spending his teenage summers playing at the Blue Lake Arts Camp and even winning a scholarship to attend the Interlochen Arts Camp, Carter attracted the attention of the late Lester Bowie, who in late 1988 invited James to make his New York City debut with his New York Organ Ensemble.
He arrived in the Big Apple in 1990 and quickly started making a name for himself, performing with Bowie, Julius Hemphill’s saxophone sextet, vocalist Betty Carter, and with the Marsalis Big Band at Lincoln Center. He made a showcase contribution in 1991’s critically acclaimed “Tough Young Tenors,” a track that tuned many an ear in to the Carter sound. Along with such works of his own, James has recorded and performed with the Lincoln Center Jazz Orchestra and Kathleen Battle, among others.
Carter made his way impressively into the national spotlight as a solo artist in 1994 with his Atlantic debut, The Real Quietsorm, a ballad-infused collection that earned him both standing ovations and critical accolades of the highest order. It was followed that same year with the domestic release of JC On The Set, Carter’s 1993 debut solo album that had originally been issued only in Japan. In 1995, Carter moved forward with both his Jurassic Classics album and a second Atlantic release, Conversin’ with the Elders, in which the artist joined forces with such jazz pioneers as Buddy Tate, Harry “Sweets” Edison, Hamiet Bluiette, and Lester Bowie.
Recorded in November 1999 in New York, Layin’ In The Cut builds on the stylistic foundation set
in the ‘70s with Ornette Coleman’ Prime Time ensemble, combining a free jazz style with a solid
funk groove. Chasin’ the Gypsy, recorded in February 2000 in New York City with a top cast of
players, pays homage to guitarist Django Reinhardt.
In addition to his own work, James has performed on recent albums with Cyrus Chestnut, Herbie
Hancock, Detroit comrade Rodney Whitaker, Regina Carter, Madeleine Peyroux, Karrin Allyson and Flip Phillips. Recent tours included one of Japan with John Hick’s group, a tour of Western Canada with his Organ Trio finishing up at the Montreal Jazz Festival of 4 July, the Bluiette Baritone Nation for a week’s run at the Iridium, and a tour of Brazil with his Organ Trio. In October of 2002 James gave the world premiere of Concerto for Saxophones, composed by Roberto Sierra, and commissioned and premiered by the Detroit Symphony Orchestra. In October of 2003, Carter and the Detroit Symphony performed four more performances of the Concerto.
James Carter signed an exclusive recording contract with Columbia/SONY in June of 2002. His debut recording for the label, Gardenias for Lady Day, was released on 11 November 2003. On 6 April 2004, Warner Brothers released the long-awaited Live at Bakers CD. Half Note Records released Carter’s Organ Trio’s performances – Live at the Blue Note with special guests Hamiet Bluiett and James Blood Ulmer in the fall of 2004. Brown Brothers Recordings released Gold Sounds in 2005. This project provides an opportunity to hear top-flight jazz artists smartly tackling offbeat rock, without a hint of condescension or contrivance. Steve Malkmus-led Pavement followers should welcome "Gold Sounds" as an album that contains exactly what its title promises.
On 15 February 2004, James Carter received one of the nations’ highest cultural awards: The Dr. Alaine Locke award. Dr. Alain Locke (1886-1954) was a brilliant man of letters, who stood as a beacon of the Harlem Renaissance. He was educated at Harvard, Oxford and the University of Berlin. He was the first African American Rhodes scholar at Oxford University and his influence resulted in the artistic outpourings of the major figures of the Harlem Renaissance. The Detroit Institute of Arts and Friends of African and African American Art bestow this honor on individuals who have provided exemplary service and leadership in the promotion of African American culture.
In May 2005 Carter received his 5th Baritone Saxophone Player of the Year Award from DownBeat’s 52nd Annual Critic’s Poll. 2006 JJA Jazz Awards named James Carter Baritone Saxophonist of the Year.