John Carter - Measure For Measure: The John Carter Anthology 1961-1977 (2003)
Artist: John Carter
Title: Measure For Measure: The John Carter Anthology 1961-1977
Year Of Release: 2003
Label: RPM Records
Genre: Pop Rock, Beat
Quality: Flac (image, .cue, log)
Total Time: 02:38:13
Total Size: 966 Mb (scans)
WebSite: Album Preview
Title: Measure For Measure: The John Carter Anthology 1961-1977
Year Of Release: 2003
Label: RPM Records
Genre: Pop Rock, Beat
Quality: Flac (image, .cue, log)
Total Time: 02:38:13
Total Size: 966 Mb (scans)
WebSite: Album Preview
Tracklist:
CD 1:
1. Carter-Lewis & The Southerners - Will It Happen To Me - 2:18
2. Carter-Lewis & The Southerners - My Broken Heart - 2:12
3. Carter-Lewis & The Southerners - Somebody Told My Girl - 2:40
4. Carter-Lewis & The Southerners - Easy To Cry - 1:57
5. Carter-Lewis & The Southerners - Sweet And Tender Romance - 1:57
6. The Ivy League - Funny How Love Can Be - 2:12
7. The Ivy League - Lonely Room - 2:00
8. The Ivy League - Tossing And Turning - 2:27
9. The Ivy League - Running Round In Circles - 2:11
10. The Ivy League - My World Fell Down - 2:51
11. Carter Shaw Keen - I Couldn't Spend Another Day Without You - 2:39
12. Ministry Of Sound - White Collar Worker - 3:23
13. Carter Shaw Keen - Time And Motion Man - 2:40
14. Carter Shaw Keen - Little Ray Of Sunshine - 3:04
15. John Carter - Winchester Cathedral - 2:13
16. Carter-Lewis - Playing With Fire - 2:56
17. John Carter - She Won't Show Up Tonight - 2:47
18. John Carter - Brown And Porter's (Meat Exporters) Lorry - 2:44
19. Viv Prince - Light Of The Charge Brigade - 3:18
20. John Carter - Am I Losing You - 2:21
21. The Flowerpot Men - Let's Go To San Francisco - 6:19
22. The Flowerpot Men - A Walk In The Sky - 3:54
23. John Carter - Sunshine Girl - 2:54
24. John Carter - Conversations (In A Station Light Refreshment Bar) - 4:41
25. Carter-Lewis - Birmingham Brass Band - 2:33
26. The Flowerpot Men - You Can Never Be Wrong - 2:37
27. The Friends - Mythological Sunday - 5:39
CD 2:
1. Haystack - Letter To Josephine - 2:47
2. Haystack - Pantomime People - 3:13
3. Haystack - Tahiti Farewell - 3:31
4. The Dawn Chorus - A Night To Remember - 4:04
5. John Carter - My Sentimental Friend - 2:43
6. John Carter - Knock Knock Who's There - 2:43
7. The Flowerpot Men - White Dove - 4:12
8. The Flowerpot Men - Say Goodbye To Yesterday - 3:05
9. Scarecrow - I Want To Be Where You Are - 2:51
10. Stamford Bridge - Little Boy Blue - 2:02
11. Stamford Bridge - Happiness And Rainy Days - 2:56
12. Stamford Bridge - Move Out Of Town - 3:04
13. Stamford Bridge - First Day Of Your Life - 2:47
14. Stamford Bridge - Arizona Lost And Gone - 3:05
15. Stormy Petrel - Hello Hello Hello - 3:33
16. First Class - Coney Island - 3:30
17. Kincade - Dreams Are Ten A Penny - 2:39
18. Kincade - Do You Remember Marilyn - 2:55
19. Kincade - Big Hand For Annie - 3:54
20. First Class - Beach Baby - 5:18
21. First Class - What Became Of Me - 3:12
22. First Class - Slow Down - 3:03
23. First Class - And She Cried - 3:03
24. Starbreaker - Sound Of Summer - 2:45
25. John Carter - British Caledonian Advertisement - 0:32
26. John Carter - Bird's Dream Topping Advertisement - 0:32
27. John Carter - Rowntree's Tots Advertisement - 0:48
28. John Carter - Vauxhall Chevette Advertisement - 0:44
John Carter was one of the very few free jazz players to concentrate exclusively on clarinet, and one of not very many to place an emphasis on the music's composed elements. Carter studied alto saxophone and clarinet early in his career. He played with fellow Fort Worth native Ornette Coleman in the late '40s. In 1949, he received his bachelor's degree from Lincoln University in Jefferson City, MO. In 1956, he earned a master's degree from the University of Colorado. He taught in Fort Worth Public Schools from 1949-1961 and in the Los Angeles school system from 1961-1982.
In 1964, while living in Los Angeles, Carter formed the New Art Jazz Ensemble with trumpeter Bobby Bradford (who would also work with Coleman). The next year, he conducted a program of Coleman's music at U.C.L.A. In the late '60s, he played and recorded with pianist Horace Tapscott and saxophonist Arthur Blythe, among others. Carter switched to clarinet full-time in 1974. He recorded as a leader for the Flying Dutchman, Moers Music, and Revelation labels in the late '60s and early '70s.
In the '70s, Carter became an elder statesman to a group of young Los Angeles free jazz musicians who included multi-instrumentalist Vinny Golia. In 1983, Carter formed a school for improvisation called the Wind College with flutist James Newton, bassist/tubaist Red Callender, and saxophonist Charles Owens. Carter's activities in the '80s included participation in Clarinet Summit, a multi-generational, multi-stylistic quartet with David Murray, Alvin Baptiste, and Jimmy Hamilton; the group recorded for India Navigation and Black Saint. Carter's major focus during his last decade was, however, a five-part set of multi-movement compositions entitled Roots and Folklore: Episodes in the Development of American Folk Music. The first suite was recorded for Black Saint, the final four for Gramavision.
As a player, Carter comes very much out of the free jazz melodic tradition of Coleman, Bradford, and Dewey Redman. He navigated the notoriously difficult B-flat clarinet with extraordinary fluidity and a rare certainty of execution. Carter had a comprehensive technique and a prodigious imagination; in his compositions, Carter harnessed the looseness of collective improvisation without compromising spontaneity.
In 1964, while living in Los Angeles, Carter formed the New Art Jazz Ensemble with trumpeter Bobby Bradford (who would also work with Coleman). The next year, he conducted a program of Coleman's music at U.C.L.A. In the late '60s, he played and recorded with pianist Horace Tapscott and saxophonist Arthur Blythe, among others. Carter switched to clarinet full-time in 1974. He recorded as a leader for the Flying Dutchman, Moers Music, and Revelation labels in the late '60s and early '70s.
In the '70s, Carter became an elder statesman to a group of young Los Angeles free jazz musicians who included multi-instrumentalist Vinny Golia. In 1983, Carter formed a school for improvisation called the Wind College with flutist James Newton, bassist/tubaist Red Callender, and saxophonist Charles Owens. Carter's activities in the '80s included participation in Clarinet Summit, a multi-generational, multi-stylistic quartet with David Murray, Alvin Baptiste, and Jimmy Hamilton; the group recorded for India Navigation and Black Saint. Carter's major focus during his last decade was, however, a five-part set of multi-movement compositions entitled Roots and Folklore: Episodes in the Development of American Folk Music. The first suite was recorded for Black Saint, the final four for Gramavision.
As a player, Carter comes very much out of the free jazz melodic tradition of Coleman, Bradford, and Dewey Redman. He navigated the notoriously difficult B-flat clarinet with extraordinary fluidity and a rare certainty of execution. Carter had a comprehensive technique and a prodigious imagination; in his compositions, Carter harnessed the looseness of collective improvisation without compromising spontaneity.
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