In 1968, having completed a five-year stint with Miles Davis, Ron Carter's career was wide open. Finding himself in typically high demand, the bassist decided not to make any long-term commitments (though he continued to join individual recording dates), opting instead to develop his solo career. In 1971, he released Uptown Conversation (Atlantic). Shortly after, he signed to the CTI label, releasing Blues Farm in 1973. The bass is rarely found in such a prominent role, its melodic qualities typically being subordinate to rhythmic ones. The presence of a pianist, guitarist, and two percussionists on Blues Farm frees Carter to explore both realms. Working with Davis was obviously a valuable experience. On numbers like "Footprints" (from Miles Smiles, 1965), Carter was required to extend and compress time, a technique that is second nature to him on Blues Farm. Dense, dexterous runs are broken up by long, bending lines and shades of blues phrasing, all executed with absolute grace. His playing becomes slightly imposing on "Django." While it's great to hear him lead the group on a tour through the song's shifting rhythms, the accompanists aren't allowed much space. Carter's playing is best when more deeply integrated. On the title track, he engages in a wonderful exchange with flutist Hubert Laws, with the two swapping solos back and forth. On "Hymn for Him," his probing lines enrich the song, pushing its narrative forward. The best comes last as the group rides "R2, M1" to the album's conclusion. The song subsists largely on the group's energy (the most they display outwardly on the album) and Carter's deep, repetitious groove. Unfortunately, great musicianship does not always make for compelling results. Blues Farm's excursions are enjoyable, but somewhat reserved. Both the compositions and performances avoid strong emotions in favor of pleasing palettes of color and texture. The early-'70s production values only enhance this by softening the bed of musical tones. The resulting polish tranquilizes the sound and ultimately dates the album. Nathan Bush
Tracklist :
1 Blues Farm 8:06
Ron Carter
2 A Small Ballad 5:40
Ron Carter
3 Django 5:31
John Lewis
4 A Hymn For Him 8:12
Ron Carter
5 Two-Beat Johnson 2:50
Ron Carter
6 R2, M1 6:08
Ron Carter
Credits :
Ron Carter - Bass, Arranger, Conductor
Hubert Laws - Flute (tracks 1, 5 & 6)
Richard Tee - Electric Piano, Piano (tracks 1, 4 & 5)
Bob James - Piano (tracks 2, 3 & 6)
Gene Bertoncini (track 5), Sam Brown (track 3) - Guitar
Billy Cobham - Drums
Ralph MacDonald - Percussion (tracks 1 & 4-6)
A fascinating reissue that comfortably straddles the lines of jazz,
folk, and world music, working up a storm by way of a jazz protest album
that points toward the Spanish Civil War in particular and the Vietnam
War in passing. Haden leads the charge and contributes material, but the
real star here may in fact be Carla Bley, who arranged numbers, wrote
several, and contributed typically brilliant piano work. Also of
particular note in a particularly talented crew is guitarist Sam Brown,
the standout of "El Quinto Regimiento/Los Cuatro Generales/Viva la
Quince Brigada," a 21-minute marathon. Reissue producer Michael Cuscuna
has done his best with the mastering here, but listeners will note a
roughness to the sound -- one that is in keeping with the album's tone
and attitude. Steven McDonald
Tracklist :
1 The Introduction 1:15
Carla Bley
2 Song of the United Front 1:52
Bertolt Brecht / Hanns Eisler
3 El Quinto Regimiento (The Fifth Regiment)/Los Cuatro Generales (The Four G 20:58
Carla Bley / Traditional
4 The Ending to the First Side 2:07
Carla Bley
5 Song for Ché 9:29
Charlie Haden
6 War Orphans 6:42
Ornette Coleman
7 The Interlude (Drinking Music) 1:24
Carla Bley
8 Circus '68 '69 6:10
Charlie Haden
9 We Shall Overcome 1:19
Guy Carawan / Frank Hamilton / Zilphia Horton / Pete Seeger / Traditional
Credits :
Bass, Producer – Charlie Haden
Clarinet – Perry Robinson
Cornet, Flute [Indian Wood Flute, Bamboo Flute] – Don Cherry (tracks: 3, 5)
French Horn, Wood Block [Hand Wood Blocks], Bells, Reeds [Crow Call], Whistle [Military Whistle] – Bob Northern
Guitar, Kalimba [Thumb Piano] – Sam Brown (tracks: 1, 3 to 7)
Percussion – Andrew Cyrille (tracks: 8), Paul Motian
Tambourine, Arranged By – Carla Bley
Tenor Saxophone, Alto Saxophone – Dewey Redman
Tenor Saxophone, Clarinet – Gato Barbieri
Trombone – Roswell Rudd
Trumpet – Michael Mantler
Tuba – Howard Johnson
Although Stationary Traveller is a concept album, it musically falls into line with its predecessor The Single Factor, which found Camel try...
