These quartets are Juilliard specialties, and anyone wanting to hear this music played with a near ideal combination of virtuosity and humanity need look no further. Carter's quartets are not for the musically faint of heart: they are uncompromisingly thorny, intricate pieces that require lots of intense, dedicated listening. Very few people doubt their seriousness–or even their claims to musical greatness–but just as few people enjoy listening to them. Perhaps this spectacular set will encourage the adventurous to give them a shot. They're worth the time.
An eclectic mix of American, African, and Caribbean music with strong rhythmic aspects. This CD has the ability to make the listener jump, dance, and listen, depending on what mood the individual is in while cruising the grooves. Leonard King was born in Detroit, Michigan where he has been able to absorb the multi-cultural musics of the entire metro area. He has performed with many artists such as Donald Byrd, Johnnie Taylor, Al Green, Herb Ellis, Barbara Dane, Eddie Kendricks, Pigmeat Markham, James Carter, and many others.
Given the glut of "String Quartet Tribute to So and So," "Electronic Tribute to Some Crappy Band," and "Pickin' on Whomever" "tributes," it's somewhat surprising that no one has tackled Pavement in a tribute album – not until now, at any rate. And even more surprising is that it's not one of those aforementioned knockoffs; it's a heavyweight jazz session with James Carter, Cyrus Chestnut, and Reginald Veal, three of jazz's finest players on their respective instruments (rounded out by the talented Ali Jackson on drums). You may be asking, "what the hell are a bunch of jazzbos doing playing Pavement tunes?" The short answer, "making a great album." Remember, underneath their slacker image and loose, lo-fi aesthetic, Pavement's best tunes were memorable and melodic with interesting (though sometimes ramshackle) arrangements.