I am seeking funds to finish an all acoustic recording project which includes North American Jazz standards, Brasilian classics and two originals.
The title of this recording came about when I realized I had selected tunes that could be considered the best of both worlds --- classic tunes from the North American Songbook and standards from the Brasilian repertoire, with a couple of originals thrown into the mix. The North American songs are standards I have been playing for years, with two of the songs associated with one of my musical heroes, pianist Bill Evans. I had written and chosen my original, Variations on a Theme by Bill Evans, without realizing I had also chosen Young & Foolish and Waltz For Debby. The Brasilian tunes include some obscurities: a Jobim waltz, Mojave, and a tune I had heard on a Rosinha da Valenca recording, Tema do Boneco de Palha. Rosinha was always one of my favorite guitarists, someone who could swing hard but could also draw you into the music with her intimate and soulful touch. Valse de Euridice was a favorite of another of my heroes (maybe I should re-title this CD?), Baden Powell, who played and recorded this tune many times. Most of my recordings and performances always include a tune or two from my pal, harmonica player and composer Mauricio Einhorn. Here we do his classic tune, Batida Diferente, The Different Beat, recorded by Cannonball Adderly and many, many others. Mauricio and I go back to my first trip to Rio in 1988. I had a three week gig at the top jazz club in Rio at the time, People Jazz Bar. Mauricio was the first person I knew I had to seek out during my stay in Brasil. We became fast friends and have performed, recorded together and even did a duo tour of Europe a few years back.
This recording is also a return of sorts for me. My first recording, Too Marvelous For Words, was a duo recording with bassist Rufus Reid, all the way back in 1980. Most of my early performances and recordings were duos and trios. I always liked the intimacy of the small group and the fact that it forces you to really listen to your partner or partners. The original idea for this recording was to make it a guitar/ bass duo with my long time friend, bassist David Finck, the guy of whom pianist Sir Andre Previn has said “There is no one who is as good a jazz bass player and collaborator”. While I was still in the planning stages for the recording, I had done some gigs with percussionist Ze Mauricio and I knew he could really add to the group dynamic. When I heard the first series of playbacks, I knew my hunch was correct.
Here's all the info for the recording:
“Both Sides of the Equator”
Joe Carter - acoustic nylon string guitar
David Finck – acoustic bass
Ze Mauricio – percussion
- Nos E O Mar (Roberto Menescal & Ronaldo Boscoli)
- I’ve Never Been In Love Before (Frank Loesser)
- Mojave (A.C. Jobim)
- Viktor with a K (J. Carter)
- Blame It On My Youth (Oscar Levant)
- Ponta de Areia (Milton Nascimento)
- Valse de Euridice (Vinicius de Moraes)
- Batida Diferente (Mauricio Einhorn & Durval Fereira)
- Young and Foolish (Albert Hague & Arnold Horwitt)
- Tema do Boneco de Palha (Vera Brasil & Sivan Castelo Neto)
- Waltz For Debby (Bill Evans)
- Nada Como Ter Amor (Carlos Lyra & Vinicius de Moraes)
- Variations on a Theme by Bill Evans (J. Carter)
Percussion arrangements by Ze Mauricio
All other arrangements by Joe Carter
David Finck appears courtesy of Soundbrush Records
Liner notes by Michel Maestracci, Jazz Hot Magazine FRANCE
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