Hi folks, I’m very excited to announce the release of the new album by my Quintet+1, Interview Music, this April. The centerpiece of the record is the 55-minute, four-movement title suite. The video below will tell you more about the album, the piece, and the outstanding band:
The album was made possible by the support of the generous donors to our crowdfunding campaign, to whom I am extremely grateful! Thanks also to San Francisco Friends of Chamber Music and the California Jazz Conservatory for their early support for the composition and premiere of this piece. (You can read an extended article about the album here. )
We’ll be doing two performances in the Bay Area to celebrate the album’s release–the official CD release show at Oakland’s great downtown venue The Sound Room on April 9th, and an intimate afternoon performance at Chez Hanny in San Francisco on April 24th. I hope you’re able to make it to one or both!
It’s been a while since my last update! A lot has gone on, including a very busy musical time (including performances with my new band IJKL, Sam Bevan and his quintet, and Arun Luthra’s Konnakol Jazz project), followed by a not-very-busy musical time (while I recuperate from handing off a kidney to my dad, which is surprisingly not something they like you to play trumpet right after doing).
But today I wanted to tell you about my new album Interview Music: A Suite for Quintet+1, which I’m hoping to release April 2016, with your help. It’s been in the works for over two years, and we’re in the home stretch of the process, which I’m really excited about. The centerpiece of the album is a four-part, hourlong suite which is a culmination of over a decade of growth with an amazing group of musicians–Adam Shulman, Fred Randolph, Jon Arkin, Kasey Knudsen, and Sheldon Brown.
And now we’re asking for your help to make it possible for us to make it down the last mile and to a finished CD we can release to the world. We’ve come a long way–through composing, rehearsing, premiering, recording, and mixing–but we still have some very important expenses remaining, so we’re launching a crowdfunding campaign through Indiegogo (one of the most trusted crowdfunding sites on the planet) to help raise funds to make it through this last mile of the production process. (These are of course expenses which in the good old days would’ve been fronted by a record label, but that is some spilt milk that’s definitely not worth crying over.) (Just kidding, I cry over it all the time.)
Of course we’re not just asking for a handout–we offer perks for contributors at many levels, ranging from digital downloads for $10, to CDs for $15, up to posters, signed copies of the original score, concert tickets, and even producer credit. Any amount you’re able to contribute, even if it’s just preordering the CD, would be very helpful and appreciated.
I’m excited to invite you to a very special performance next Saturday: my Quintet+1, which has done me the great honor of digging deeply into my music for the past decade, will be returning to The Sound Room in Oakland’s Downtown arts district for our first show of 2015.
The Sound Room, a labor of love by proprietors Robert Bradsby and Karen Van Leuven, has made a significant positive contribution to the downtown district and the East Bay jazz scene, and is one of our favorite places to play. (It’s also very close to a variety of happening restaurants and BART.)
The Quintet+1 (Kasey Knudsen on alto saxophone, Adam Shulman on piano, Fred Randolph on bass, Jon Arkin on drums, Sheldon Brown on bass clarinet, flute, and saxophone, and myself on trumpet and flugelhorn) will be playing original music from our previous 3 albums (2006’s Sink/Swim, 2010’s Contextualizin’, and 2013’s Roads & Codes), plus selections from my new 4-part suite “‘Interview Music,” as well as arrangements of music by some of my favorite composers like Charles Ives and Jimmy Giuffre. We are fresh out of the studio (recording our next album, due in the fall) and the band is sounding great—judge for yourself in the video below.
We hope very much to see you next week!
WHAT: The Ian Carey Quintet+1 WHERE: The Sound Room, 2147 Broadway, Oakland WHEN: Saturday, May 16, 8pm (doors open at 7) TICKETS: $15 (available here or at the door)
I wanted to give you an advance heads-up about a very exciting show I’ve got coming up next month–I’m happy to announce that my Quintet+1 (with pianist Adam Shulman, bassist Fred Randolph, drummer Jon Arkin, alto saxophonist Kasey Knudsen, and multi-woodwindist Sheldon Brown) will be giving its first performance of 2014 by returning to that great spot in downtown Oakland, The Sound Room (site of our really enjoyable CD release show for Roads & Codes last year–see some footage here).
Even better, we’ll be sharing the bill with one of my favorite local ensembles, the Nathan Clevenger Group. Nathan is an outstanding composer/guitarist and his music has been consistently inspiring to me since I first encountered it, not least because we’ve had a habit of hiring some of the same great musicians. (See a tune from the Group’s most recent amazing performance here.)
Each group will be performing one long set of new original music and selections from our recent albums. (Nathan’s group will go first, with my group following around 9:30.)
WHAT: New Music for Sextets: Ian Carey Quintet+1 & Nathan Clevenger Group
WHEN: Friday, May 23, 8pm
WHERE: The Sound Room, 2147 Broadway, Oakland
TICKETS: $13 adv., $15 door
More details to come, I hope to see you all for what promises to be an exciting show!
Thanks very much to everyone who came out to any of our three CD release shows for Duocracy! Ben and I had a great time and were really pleased with the turnout and audience response. We hope to have more shows lined up soon, but in the meantime, here are some new reviews for the CD, plus some video from our Jazzschool (now California Jazz Conservatory!) show. (Also, don’t forget my trio TAKOYAKI 3 is playing Friday, March 14, in Berkeley!)
First, the reviews–I’m really pleased that the CD was selected for a review by Down Beat, which is still the magazine of record for the jazz scene after 80-some years. Here’s what they had to say:
Both busy members of the Bay Area jazz community, 30-somethings Stolorow and Carey pair up here for a duo outing largely focused on tunes dating back a couple of generations before they were born. The tone is set by the warmth of opener “Little White Lies,” accelerated as “Cherokee” finds rapid-fire lines erupting from Carey’s trumpet, and settles back as Stolorow takes a stride-inflected spin on Monk’s “Four in One.” It’s a lively trip down a straightahead path… obviously deriving a refreshing joy from the familiar sights.
Inventive and pretty, the music on Duocracy (recorded in 2013) is reminiscent of that created by Ruby Braff and Dick Hyman on several albums, including Play Nice Tunes (1994), though Braff usually performed on cornet while Ian Carey plays trumpet. Pianist Ben Stolorow and Carey mostly favor tunes from what is often called the Great American Songbook… Jazz writers who decry musicians’ continued interest in such music should listen to Stolorow and Carey’s fresh treatment of standards. Ranging chronologically from the Gershwins’ “How Long Has This Been Going On” and Rodgers and Hart’s “You Took Advantage of Me” (both 1928) to Henry Mancini’s “Two for the Road” (1967), seven of the ten selections are well known. The tempos range from sprightly to deliberate. The briskest selection, “Cherokee” begins with a brief fanfare, as if to announce that something special is coming. Indeed, the trumpet-piano interplay is impressive, as it is throughout this CD. The contrast between “Cherokee” and the next tune, Gordon Jenkins’s “Goodbye,” the longest and least hurried piece, is extreme; pairing these pieces reveals the musicians’ emotional range, from playfulness to introspection. … Hardly radical, the trumpeter and pianist are content to investigate the nuances of mostly established compositions, ones that some commentators consider effete. These tunes have endured because of their attractiveness and richness, qualities that appeal to instrumentalists and singers. Stolorow and Carey’s treatment of them is uniquely theirs. They play nice tunes nicely.
The pared down pairing of trumpeter Ian Carey and pianist Ben Stolorow on their new effort Duocracy is a simple pleasure. It’s not often that we get hear the interplay of the trumpet and piano alone together, and the talents of these two gentleman certainly elevates the caliber of the effort. They primarily cover a nice selection of standards by Rodgers and Hart, Henry Mancini, Thelonious Monk, George and Ira Gerswhin and Walter Donaldson among others. The duo of Carey and Stolorow makes this more than a fascinating concept, instead it’s a fantastic recording.
As promised, here are two videos from our Jazzschool show, each featuring tunes which can also be found on the album–the first is Monk’s “Four In One”:
And here’s Kern’s chestnut “All the Things You Are…”
Hello folks, despite my relative blog-silence for a while, I’ve been keeping busy with things musical, working on new compositions & arrangements for upcoming performances by Takoyaki 3 (5/30 at Yoshi’s Lounge) and Quintet+1 (Chez Hanny). I’m also excited about a return engagement in Berkeley for my new duo project with the great Ben Stolorow this Thursday. (You can get a taste of us in action below, tackling Monk’s thorny “Four in One” at our debut show last month.)
We’ll be bringing an all-new set of music, featuring nearly-forgotten standards, jazz rarities, and even a couple of originals. I’m also excited to announce that Ben & I will be heading into the studio to record a new album in the next month or so! (I’m especially looking forward to a spontaneous and intimate session after the major production that was Roads & Codes.) More details on that to come!
WHAT: Ben Stolorow/Ian Carey Duo WHO: Ben Stolorow, piano; Ian Carey, trumpet & flugelhorn
WHEN: Thursday, May 9, 8-10pm
WHERE: Garden Gate Creativity Center, 2911 Claremont Ave. (@ Ashby), Berkeley
HOW MUCH: $10-20 sliding scale (wine & cheese served!)
TAKOYAKI 3, the streamlined, street-food-style version of my Quintet+1, is playing twice in the next week–on Saturday night (3/23) in North Beach at Rose Pistola, and next Wednesday (3/27) at Yoshi’s Lounge in San Francisco. The group features Adam Shulman on organ, Jon Arkin on drums, and myself on trumpet & flugelhorn, and we’ll be playing original music from Roads & Codes, as well as select standards and underappreciated classics by jazz composers like Herbie Nichols, Ornette Coleman, and Lennie Tristano.
WHAT: Ian Carey’s Takoyaki 3
WHERE: Rose Pistola, 532 Columbus Ave., San Francisco
WHEN: Saturday, March 23, 9-11:30pm
HOW MUCH: No cover!
WHAT: Yoshi’s Local Talent Series presents Ian Carey’s Takoyaki 3
WHERE: Yoshi’s Lounge, 1330 Fillmore., San Francisco
WHEN: Wednesday, March 27, 6:30-9:30pm
HOW MUCH: Also no cover!
I’ve also got two other gigs this weekend for those of you of the East Bay persuasion: Saturday (3/23) daytime, I’ll be playing with the Betty Shaw Quartet at the Cheese Board in Berkeley from 11:45am-2:45pm, and Sunday evening I’ll be playing with the Full Count Trio (Ollie Dudek, myself, and Jeffrey Burr) at Cato’s Ale House in Oakland from 5:30-8:30pm.
Next, there have been more reviews for Roads & Codes trickling in, including a very nice one from The Pittsburgh Tribune Review:
Carey is almost as good a cartoonist as he is a musician. The horn man created a comic-book-like cover for his “Roads & Codes” that talks about the difficulty of selling jazz these days. Inside, cartoon depictions of the players in the band decorate his liner notes, set in the same typeface as the word balloons on the cover. While all this cover material is impressive, the music — happy to say — is even better. The tunes are catchy and played by a sextet that, at times, sounds bigger, offering backup statements and horn harmonies that create a rich sound.
… plus a review from Ken Frankling’s Jazz Notes (“a marvel for its lush and intricate music and musical concepts, as well as Carey-designed packaging and illustrations that make it a clear favorite to win the year’s cleverest design”), another mention from James Hale, who wrote my DownBeat review (“one of the freshest albums I’ve heard in a long time”), a spin for “Count Up” and what according to Google Translate is a nice review from Radio France‘s Alex Dutihl (“Parution de «Roads & Codes» du trompettiste Ian Carey chez Kabocha, dont la pochette est illustrée par une bande dessinée qu’il a lui-même créée. Encouragé par Dave Douglas en ce qui concerne la musique, il poursuit parallèlement une carrière d’illustrateur”–couldn’t have said it better myself!), and from one of my favorite jazz blogs, the great Doug Ramsey’s Rifftides (the post title–“Recent Listening: Carey, Mingus, Ellington”–poses a serious threat of causing my brain to explode):
Carey writes lines that flow on astringent harmonies. His trumpet and flugelhorn keep the listener’s attention not through volume, velocity and extended sorties into the stratosphere, but with story telling and a burnished tone. Kasey Knudsen, the +1 of the band’s new name, spells Evan Francis on alto saxophone, leaving Francis to concentrate on tenor sax and flute. With the audacity of her conception and sound, Knudsen is a stimulant. The series of blues choruses and phrases that she and Francis exchange on “Nemuri Kyoshirō” is an album high point. The three-horn front line expands Carey’s arranging palette beyond that of his 2010 CD Contextualizin’, allowing richer ensembles and deeper voicings in figures behind soloists. Pianist Adam Shulman, bassist Fred Randolph and drummer Jon Arkin constitute one of the San Francisco Bay Area’s finest rhythm sections. Carey acknowledges that nearly half of his compositions are under the influence of his heroes Charles Ives (“West London”), Igor Stravinksy (“Andante”), John Coltrane (“Count Up”) and Neil Young (“Dead Man [Theme]”). The influences are points of departure for the individualism of Carey’s writing.
Finally, here’s some new video from our show at the Sound Room last month–this is the aforementioned “Nemuri Kyoshiro,” featuring a live rematch of that epic saxophone battle:
Hi folks, here’s the first video from our CD release show for Roads & Codes last month at the Sound Room in Oakland. It was taken by saxophonist/video whiz Ben Torres.
Due to some technical difficulties (not Ben’s fault) the trumpet is pretty far down in the mix, but I don’t think that detracts from the music too much. More to come!
Also, if you’re in the Bay Area, I’m going to be playing tomorrow (Saturday, March 9) at the Cheese Board in Berkeley with pianist Betty Shaw‘s Quartet (with Ron Marabuto, Robb Fisher and myself), from 12-3pm. The pizza’s delicious and the music is free, so come on by!
Hi folks, thanks to everyone who came out to recent shows in Berkeley and Oakland. I’ve got another show coming up in Berkeley at Caffe Trieste, home of an array of strange and wonderful coffeemakers worthy of Frankenstein’s lab. I’ll be joining bassist Noah Schenker and friends for an evening of straightahead cookin’ on standards, jazz classics, some originals and other rarities.
What: The Noah Schenker Quartet Who: Noah Schenker, bass; Ian Carey, trumpet; Adam Shulman, piano; TBA, drums (but you know it’ll be somebody good). When: Tuesday, May 10, 7-10pm Where: Caffe Trieste, 2500 San Pablo Ave., Berkeley How Much: Free!
Also, for those of you who weren’t able to make it to Takoyaki 3’s inaugural show at the Actual Jazz Series last month, series founder Jacob Zimmerman and Theo Padouvas were kind enough to video the entire show, so I thought I’d share two tunes. The first is our take on “How Deep is the Ocean”:
Happy summer! For those of you who weren’t able to make it out to our show last week at Coda, here’s the first video from that great evening (great for us, anyway–I leave the musical judgments to you).
It’s the tune which has recently become our favorite opener, “Sockdolager” (ironically defined as “a decisive blow or answer : finisher”), as heard on Contextualizin’. It features solos from me, Fred, Evan, and Adam (getting his Rhodes on), with Jon’s tidal groove(s) washing over it all.
Not only was it great to be playing with these guys again, it was also encouraging that we got such a big, enthusiastic crowd out (you can’t miss them on the video), some of whom I think are a sign that the club is taking off–definitely refreshing to see after so many closures of jazz-friendly venues in the recent past.
Currently, our next scheduled show as a quintet is at Berkeley’s Jazzschool in September, but we’ve got some feelers out for gigs between now and then so I’ll keep you posted. In the meantime, I’ve got appearances coming up with the amazing Circus Bella and the Contemporary Jazz Orchestra (formerly of Pearl’s and Rasselas), so it’s looking to be a busy, musical summer.
BTW: if you haven’t yet, please take a minute to “Like” my jazz page on Facebook (“You like me! You really like me!”), or follow me on Twitter (which I’m really starting to get into, after years of stubborn resistance). Thanks, and stay tuned for some listening recommendations, more gig video, an upcoming radio interview, and some follow-up thoughts on the jazz funding debate. Cheers!
Announcements and thoughts from a Bay Area trumpeter and composer