Archive for the ‘Press’ Category

• Cadence Reviews CONTEXTUALIZIN’

  Date: 2011.02.24 | Category: Press | Response: 1

  Hi folks, hope everything’s well and good, and the gigs are as plentiful as copies of “The Da Vinci Code” in a thrift store. Things have been light in that area for me since the unfortunate closing of Coda–though of course the hunt is on for greener pastures on which to do our jazz grazing–but I’ve been hard at work on writing new music for the group, hitting local jam sessions, plus some good old-fashioned woodshedding. I’ve also got an exciting recording session coming up with Rob Reich and his fabulous Circus Bella All-Star Band (which could use some support–please chip in a few bucks if you can).

  In the meantime, some good news–Cadence Magazine, a great in-depth independent quarterly which has been keeping the jazz journalism flame burning since 1976, reviewed my album Contextualizin’ in its new issue, and had some really gratifying things to say. Here’s the whole review–if you like it, I encourage you to support the magazine and subscribe.

  Trumpeter Ian Carey interprets his own compositions (with one exception) on his second album, Contextualizin’, with straightforward melodic lyricism—deceptively straightforward, in fact. The modesty he presents in the liner notes he wrote coyly invites protest. Carey wonders in written form how he would ever be able to make his performances stand out among all of the Jazz trumpeters who exhibit blazing technique in an exclamatory voice. Well, Carey’s voice is declarative in a “discursive” (Steve Lacy’s word) way that draws in the listener with warmth and wordless narrative logic. Carey’s stories suggest one-on-one familiarity, as if he were imparting new information to a friend. As for influences, Carey makes plain that he has an affinity for the cooler trumpeters like Miles Davis or Tom Harrell, instead of those who fearsomely brandish technique for exhilarating effect. In fact, the first track on Contextualizin’ is named “Tom/Tom” after Harrell and trumpeter Tom Peron who likewise value linear improvisational movement throughout a performance while staying mostly in the middle range of the instrument. Carey’s composition is engaging, with prodding anticipations of the beat and vertiginous intervals involving harmonic interplay with saxophonist Francis. Carey realizes that listeners can be drawn into a performance, as well as being startled to pay attention to it. Without so much as merely raising his voice, so to speak, Carey continues through all eight of his compositions to establish moods, varied according to the thematic material at hand, and “discursively” explores them. “Questions,” which follows “Tom/Tom,” involves minor-key suggestions of mysterious forces as the quintet remains subdued and almost hushed until the soloists smolder without the occurrence of actual explosion despite Carey’s intensification of feeling and Francis’ darting and sweeping outlines over the modal basis. Keyboardist Shulman changes the background texture on some of the tracks by switching to Fender Rhodes, even as the horns remain at the forefront of improvisational activity. Although Carey has studied and performed in widely separated cities in the United States, including New York, Reno and Binghamton, his recording career commenced after he moved to San Francisco in 2001. Contextualizin’ is one more result—an opportunity to showcase “discursively” not only Carey’s distinctive style, but also his varied compositional talent. Like most other Jazz musicians, Carey plays standards too. On this album, that standard is “Just Friends,” which in beboppish fashion, Carey’s group transforms into another song based on the same chord structure. The quintet performs “Just Friends” contrapuntally somewhat like Gerry Mulligan and Paul Desmond’s work on Two of a Mind, except for Shulman’s pointillistic adherence to the melody. Carey’s burnished, technically precise cadenza at the beginning of “Disinvited” suggests infinite possibilities for continuation but few hints of the stop-and-start, teasing melody to follow, subject to the whimsical modification by each of the musicians. Carey intentionally apostrophized the title of his album to invite comfort with his music which attracts listeners to its content. Even so, Carey doesn’t sacrifice technique or depth of thought for his intimations of informality.   –Bill Donaldson

• New Years’ Update: Year-End Lists, So Long Coda

  Date: 2011.01.12 | Category: Press, Thoughts, Updates | Response: 1

  Hi folks, I’ve been MIA lately but it seemed like a good time to catch you up on music-related news–good, bad, and who knows.

  First the bad–you’ll notice the Quintet’s show scheduled for mid-January has been canceled, due to the unfortunate fact of the venue, Coda, following too many clubs to mention into nonexistence. This hits me, and the scene in general, particularly hard, as Coda was the perfect venue for jazz and related musics–the place looked great, treated the musicians well, paid decently, and took an interest in promotion, so of course it couldn’t last in the Bay Area. I was asked recently in an interview to name my favorite venue, and I said, “I used to like Pearl’s, until it closed. Then I liked Octavia Lounge, and it closed. And Anna’s Jazz Island, closed. My favorite venue is any venue that’s open.” So we can tack another on to that sad list.  (Note the title of the Times article: “Death of Jazz Club Underscores a Changing Scene”–I wish that this represented changing. Seems like the same old same old to me.) Oh well–the hunt for places to play continues.

  On a more positive note, my album Contextualizin’ has been featured on several “Best of 2010″ lists recently–the first from The Jazz Page (“Another solid band out of the Chicago area”–close enough, maybe this’ll get us a gig there?–”Ian and the Quintet have a nice sound that can appeal to music lovers across the jazz spectrum and beyond”), and the second from Arnaldo DeSouteiro’s Jazz Station (I also made the trumpet and flugelhorn lists, with some very heavy company, and Adam Shulman was recognized in the electric piano category). Both give me the warm fuzzies, especially since the record was released so early in the year and has been off the jazz blogosphere’s radar for a while. (This would be a good time to put in a word of thanks to Terri Hinte, whose tireless work getting the CD to the right ears has been a huge part of its success.)

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• The “New to Me” Top 10 for 2010

  Date: 2010.12.01 | Category: Press, Thoughts | Response: 8

  It’s that time of year when people start cranking out Top 10 lists like fruitcake, so I thought I’d toss my cake in the ring and do one myself.

  But since I usually come across new albums via used record stores and word of mouth, I decided my list would be not necessarily the best albums which came out in ‘10, but the best albums that showed up on my radar for the first time this year (hence “New to Me”). Some of them are actually new! (But most aren’t.) Hopefully some of them will be new to you, too.

  So now, in no particular order, here are ten albums which made my year:

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• Contextualizin’ on “Fresh Air” (sort of!)

  Date: 2010.07.06 | Category: Audio, Press | Response: 1

  Thanks to some quick listening by our bassist Fred Randolph (who was in a cab on his way to the airport) and some help in tracking down the details from Mitchell Feldman, I learned this weekend that the tune “Sockdolager” from our latest CD was used as “interlude music” on NPR’s Fresh Air on June 24.

  While it’s not quite the same as a review, it’s definitely cool to hear us while Terry Gross reads the credits, and I like the idea of the tune going out on the 450 or so stations which carry the show.

  You can listen to the entire story where the tune was heard at NPR’s website, or just the snippet of us rocking away behind Ms. Gross’ dulcet tones right here:

  • Ian Carey Quintet: “Sockdolager” on NPR’s Fresh Air

  UPDATE 7/26: And another track! “Shake & Joe,” one of the cheerier tunes on the record, was heard last week. Hopefully it helped counteract a depressing (but interesting of course) analysis of the new financial bill. (Thanks again for the quick hearing, Fred!)

• Contextualizin’ Reviewed in IAJRC Journal

  Date: 2010.06.29 | Category: Press | Response: 0

  Although Contexualizin’ has been out since February, every so often a new review will trickle in, which is great, since the CD was close to a year in the making (from rehearsals to recording to mixing to package design to duplication to mailing to promos to release show)–so it’s nice to be reminded people are still checking it out (even if it’s a staggering 4 months of age).

  This review is from Stuart Kremsky of the International Association of Jazz Record Collectors, writing in the IAJRC Journal. (I wish I’d had the budget to press some actual records and hear myself on vinyl–maybe next time.) Mr. Kremsky has a reputation as a very choosy listener, so it’s especially gratifying to get his recommendation. Here’s the review:

  The Ian Carey Quintet impresses right off the bat with Tom/Tom, the opening track of Contextualizin’. Trumpeter Carey negotiates the tricky head with graceful ease, and his succinct solo grows directly out of the theme. Altoist Evan Francis, pianist Adam Shulman, bassist Fred Randolph, and drummer Jon Arkin flow into the groove too. This bright and cheerful song is just the first example of this quintet’s thoughtful, coherent approach to post-bop small group jazz, honed by considerable time on the bandstand at the band’s long-running San Francisco gig…

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• Jazz in Space/ICON Review, Friday Show

  Date: 2010.05.05 | Category: Gigs, Press | Response: 0

  ANOTHER CONTEXTUALIZIN’ REVIEW: Although my CD has been out for a few months now and has slipped off the jazz charts (but how gratifying that was while it lasted!), there are still some nice reviews trickling in from time to time–for example, the following by Nick Bewsey, which appears both in this month’s ICON Magazine and Bewsey’s blog, Jazz in Space:

  West Coast trumpeter, Ian Carey, might also be described as a short story writer because his songs are uniquely narrative in form. Carey, who in tone and spirit resembles Art Farmer, writes tunes that are inquisitive and probing–they go somewhere–and his fine band stands at the ready as Carey’s imagination and musicality leads the way. On trumpet or flugelhorn he casts a warm patina over eight original compositions and one cover, “Just Friends,” that illustrates the organic sounding rapport Carey shares with alto saxophonist Evan Francis, pianist Adam Shulman, bassist Fred Randolph and drummer Jon Arkin. … As a composer, Carey encourages thoughtful interplay. Witness the tension between Carey and pianist Shulman on the moody “Questions” and further in, where Francis’ alto explores pathways of sound as if in a hedge maze, venturing one way then another all the while framed by the bassist and drummer. The most rewarding tune, “Leap Year” has a modern texture provided by Shulman on Fender Rhodes, and it grabs your ear with its loping, waltz-like structure. But start with the title tune, with its confident theme and front-line horns, because it exemplifies Carey’s natural ability to express ideas that percolate with emotion and by its conclusion, you’ll feel a satisfying release that leaves you anticipating the next tale he will tell.

  … you can read the entire review here. Any press is great, of course, but reviews like this, where it’s obvious the writer really thought about the music and responded to it honestly, are a real boost.

  GIG ALERT: For those of you in the Bay Area, I’ll be playing this Friday, May 7 at the Orbit Room (on Market St.) with bassist Ollie Dudek and his trio, from 9:30pm to 1am. We’ll be playing standards and jazz classics, and there’s no cover. Come on by, have a cocktail and take in the sounds!

• Return to Coda + Bonus Video

  Date: 2010.04.25 | Category: Gigs, Press, Updates, Video | Response: 0

  Hi folks–as you can see, the website has a new look (it was long overdue). Let me know if it’s working for you. I’m planning on doing some more regular posting in the future (beyond announcements and self-promotion–because, let’s face it, that gets boring), to share my thoughts on the jazz scene, the trumpet, what I’ve been listening to, etc.

  … RIGHT AFTER I get this self-promotion out of the way: first, I do want to mention that thanks to the great crowd that turned out for the CD release show, we’ve been invited back to Coda on Wednesday, June 16. I’m planning on having some new material ready to debut, so be sure to come down so you can say you were there THE NIGHT JAZZ CHANGED (or something).

  Also, the CD got a really nice review recently from The Jazz Page:

  … the stuff that great jazz is made of, a blend of solid musicianship and writing. Carey’s trumpet and fluegelhorn work has an inviting tone that can attract jazz aficianados and novices alike. The quintet is a terrific assemblage of talented players…

  … you can read the whole thing here.

  Finally, as a reward for making it through the above promos, and as a preview for those who didn’t make it to the release show, here’s another tune from that night, the 5/4 harmonic maze called “Leap Year” (also available on CONTEXTUALIZIN’), featuring the talents of Evan Francis, Adam Shulman, Fred Randolph, and Jon Arkin. Enjoy!

  Ian Carey Quintet: Leap Year from Ian Carey on Vimeo.

• AAJ Listening Party & Review + Gig Video

  Date: 2010.03.17 | Category: Gigs, Press, Video | Response: 1

  Hi Folks–a big thank you to everyone who made it out to our CD release show last week at Coda (and thanks even to those who wanted to be there but couldn’t make it). The show went really well, it’s a very nice room, and as I said at the gig, after seeing so many jazz venues close lately, it’s great to see a new one taking hold. (We’re already talking about a return visit in June.)

  Here’s some video from the show–our first tune of the night, “Sockdolager”:

  More tunes to come–for now you can also check out “Sink/Swim.”

  CONTEXTUALIZIN’ @ ALL ABOUT JAZZ: Two big things going on for our new CD over at All About Jazz this week–first, the album is being featured in a “Listening Party” all this week, which means you can listen to it in its entirety for FREE! Check it out here (if you like what you hear and want to keep listening, pick up your own copy at CDBaby, iTunes, or Amazon).

  Second, we’ve gotten a nice review from the site by C. Michael Bailey:

  Trumpeter Ian Carey’s Contextualizin’ is a digital Masters seminar. First, of course, is the music: solid, acoustic, composed, progressive, explorative. Second, is the exegesis, Carey’s realization that, …”what I played would help shape how I played…” Not technically dazzling, Carey, like Miles Davis, chooses to focus on which notes he plays (and doesn’t) and their relative order as opposed to the tempo or technical exercise contained in the notes’ performance. This shift in perspective moves the act of playing music from the sterile virtuosic into the informed, emotive realm, providing a solid balance…

  How about that! (I was joking to a friend that I should shorten the quote to: “… like Miles Davis…”) Read the whole review here.

  Finally, if you haven’t yet, please take a second to become a fan of Ian Carey Jazz on Facebook, to keep up with all the latest gig announcements, videos, and links. Happy Spring!

• CONTEXTUALIZIN’ on Rifftides

  Date: 2010.03.05 | Category: Press | Response: 3

  The great jazz journalist Doug Ramsey’s blog, Rifftides, is one of the not-to-be-missed stops on the jazz web, and he’s also the author of a Paul Desmond biography which I hope to read one of these days. So I was very excited to see he had included Contextualizin’ in his recommendations for this month:

  Carey’s self-deprecation in his liner notes would have you believe that he’s not much of a trumpet player. It depends on what you mean by playing. True, there’s not a double high C anywhere on the album and no jet-speed series of gee-whiz chord inversions. Let’s settle for good tone, lyricism and contiguous ideas that lead somewhere. Carey and his young sidemen are in tune with one another, in every sense. In Adam Shulman he has a pianist who understands Bill Evans and in Evan Francis an alto saxophonist to keep an ear on.

  UPDATE 3/9: Brian McCoy of the Oakland Jazz Examiner blog put together a series of interesting questions for me about the CD and the band… check it out here.

  Contextualizin’ is available at CDBaby, Amazon, and iTunes, and don’t forget our CD Release show this Wednesday, March 10!

• CD Release Show + East Bay Express + AAJ

  Date: 2010.03.03 | Category: Gigs, Press | Response: 0

  Hi folks: In one short week, the Quintet will be heading to the lovely Coda Jazz Supper Club in San Francisco for our official CD Release Show, so be sure you hop on the nearest cable car, BART train, hybrid taxi, mass bicycle demonstration, or flash mob, and get yourself there. We’ll be doing music from the new album, of course, plus some updated favorites from our previous CD. (I’m also told that since they will be serving food, the under-21 crowd will be welcome as well–although I’m not sure how far under 21.)

  WHAT: Contextualizin’ CD Release Show
  WHO: The Ian Carey Quintet, featuring Ian Carey, trumpet & flugelhorn; Adam Shulman, Fender Rhodes piano & Hammond B3 organ; Evan Francis, saxophone & flute; Fred Randolph, bass; and Jon Arkin, drums (+ special guests)
  WHERE: Coda Jazz Supper Club, 1710 Mission Street, SF
  WHEN: Wednesday, March 10, 7-9:30pm
  HOW MUCH: $5

  I’m also excited to share a review for Contextualizin’ from Rachel Swan at our very own East Bay Express:

  The album title speaks to some broader point about how Carey wants to tell his own story and create his own landscape (he describes the trumpet as a “discursive” instrument). That’s not exactly high-concept, but it definitely befits the material. Of the album’s nine tunes, eight are originals, and many have a tricky format… Of course, Carey’s band is the real payoff. Arkin is the consummate “good pocket player.” Shulman and bassist Fred Randolph help solidify the rhythm section, while Francis and Carey skate through melodies overhead. They’re strong enough as a unit to take a weird idea and give it shape — or context.

  You can read the entire review here.

  Other media news: I’ll be doing an interview with Brad Stone of KSJS 90.5 FM (San Jose) this Monday the 8th at 3:30pm. (You can listen live here); I also have a “five questions”-type feature this week at All About Jazz (“Take Five with Ian Carey”), where you can learn about my deep thoughts on the state of jazz, my trip to Space Camp, and counting penguins.

  You’ll also notice I’ve added a few more links at the left for purchasing the album, which is now available at CDBaby, iTunes, Amazon, LaLa, and you can download a free track from the album at All About Jazz.

  Finally, I’ll be playing tomorrow night (3/4) at a community performance space called DivinityVoice in Oakland with an interesting new group featuring the uncanny vocal stylings of Lorin Benedict and the guitar of Eric Vogler (our drummer Bryan Bowman is unfortunately on the disabled list with a finger ouchie, but we wish him a speedy recovery). We’ll be playing (definitely) strange and (hopefully) wonderful variations on classic jazz tunes. The details are:

  WHAT: Lorin, Eric, & Ian
  WHO: Lorin Benedict, vocal; Ian Carey, trumpet & flugelhorn; Eric Vogler, guitar
  WHERE: DivinityVoice, 3609 Maple Ave, Oakland
  WHEN: Thursday, March 4, 8pm
  HOW MUCH: $10