Robert Christgau: Dean of American Rock Critics

Consumer Guide:
  User's Guide
  Grades 1990-
  Grades 1969-89
  And It Don't Stop
  Book Reports
  Is It Still Good to Ya?
  Going Into the City
  Consumer Guide: 90s
  Grown Up All Wrong
  Consumer Guide: 80s
  Consumer Guide: 70s
  Any Old Way You Choose It
  Don't Stop 'til You Get Enough
Xgau Sez
  And It Don't Stop
  CG Columns
  Rock&Roll& [new]
  Rock&Roll& [old]
  Music Essays
  Music Reviews
  Book Reviews
  NAJP Blog
  Rolling Stone
  Video Reviews
  Pazz & Jop
Web Site:
  Site Map
  What's New?
Carola Dibbell:
  Carola's Website
CG Search:
Google Search:

Consumer Guide Album

James Carter: The Real Quietstorm [Atlantic, 1995]
I don't see the point of comparing the most prodigious young jazzman since David Murray if not Ornette to anyone less titanic than Sonny Rollins. He can play anything, with a giant sound on all four saxes plus bass flute and bass clarinet. I greatly enjoy and highly recommend his two blowing sessions for DIW, JC on the Set and Jurassic Classics, with the latter slightly favored for its classic heads--Monk, Ellington, Rollins, Coltrane, Clifford Brown. Still, neither suggests much reason for the playing beyond the playing itself, however sufficient a cause that may be. This romantic set has some concept. Two unfazed Carter originals complement a surprising selection of make-out music by Monk, Ellington, Sun Ra, Bill Doggett, Carter's main man Don Byas. Not only is it more unified, it's more pop, which intensifies the aesthetic charge. And Carter lets Byas's "1944 Stomp" rip so fast and hard you'll order up a blowing session immediately. A