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| Ron Carter |
Whenever jazz bassist Ron
Carter comes up in conversation, it often centers on his numerous achievements,
such as his contributions to over 2,000 recordings, his decades as a leading
jazz educator, and his membership in Miles Davis’s second iconic quintet.
However, fans and critics seldom discuss him as a composer. His compositions
took center stage on Sunday evening at the Detroit Jazz Preservation Concert
Series in Schaver Music Recital Hall. Trombonist Vincent Chandler, the series
founder, chose nine of Carter’s compositions and assembled a cross-generational
band that included pianist Gregory Burk, drummer Louis M. Jones III, bassist
Michael Abbo, saxophonist Vincent Bowens, and percussionist Mahindi Masa. The
evening began with Carter’s “Uptown Conversation." Although it’s an upbeat
piece, the band didn’t allow its nuances to overwhelm the audience. The various
bands Chandler has assembled for the DJPS seldom rehearse the music they
present. That’s hard to tell and shows the elevated level of musicianship in
Detroit that Chandler is helping cultivate. Next, the band performed one of
Carter’s ballads, “3 More Days," with patience and warmth, and it’s
doubtful that there was a dry eye in the hall when the band finished. In all
the years I’ve followed Chandler, this was the first time I remember hearing
him perform a ballad. It felt like a love letter to the audience. Chandler was
in top form during the concert. As the leader, I’ve never seen him focus the
spotlight solely on himself; he’s about laying the groundwork and encouraging
his bandmates to build upon it. However, he did mention something that annoyed
me while providing context about his touring stint with the Jazz at Lincoln
Center Orchestra, implying he isn’t on the same level as trombonist Wycliffe
Gordon, who Chandler subbed for in the JLCO. Of course, Chandler was being
modest, but I know his chops and feel confident in asserting that he is in the
same league as Gordon or any prominent jazz trombonist performing today. This
time, his standout selection was the veteran saxophonist Vincent Bowens, who
has the softest tone of any professional tenor player I’ve ever encountered.
When Bowens soloed on “Aromatic” and “Fill in The Blanks,” I felt his tenor sax
might float out of his hands at any moment. Bowens is neither average nor
overly muscular as a saxophonist; sophistication is his trademark. The rest of
the band was marvelous as well. Burk is a sophisticated pianist who follows the
tradition of Kenny Barron. He doesn’t believe in taking out his aggression on
the piano and has a light touch as if feathers are attached to his fingertips.
Abbo was a crowd favorite, walking his bass like a prom date. When he performed
on Carter’s “Little Waltz” and “117 Special,” I understood Chandler’s affinity
for him. His style resembles bassist Josef Deas, who played with Chandler in
the popular jazz ensemble Urban Transport. And for such a young drummer, Jones
III displays a remarkable command of the kit. His solos are concise and
impactful. Listening to his drumming, I wondered if his biggest inspirations
were drummers Bert Merrick and Sean Dobbins. What stands out most about this
incredible concert series is the respectful handling of the music presented.
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