James Carter puts the entire history of the Sax in his solos. Everything from Swing to Free. You never know what you're going to get but you know it will be good.
James Carter, just too darn good. Always on the wild side! Being old I like the Getz and Coletrane sound. Carter just blows my brain out! If he ever comes to Bemidji State send me a ticket! Winter we need a warmth.... Carter style.
Thats that instruments culture, competition is healthy it makes one to dig deeper into your capabilities, and "steal" some ideas and put your own swing to it .
It ain't about tripping ,it's about learning &growing. Rooty . poot motherfuckers who don't know nothing about music or can't play be coming up with that boxing match ghetto mentality Cats are up on the stand having fun. That's what music is really all about.
@@arthurholloway-bu4gu really? Well as miles Davis said, don’t destroy the beginner, they will play something you haven’t and you can learn from them. And as Kirk Whalem told me, “it’s just free expression, just don’t play, say something “
@Claude Roberts Didn't I say that it's about learning&growing? I was just talking about the way some people come at you Far be it from me to put down anything or anybody It's all good to me.I'm with you on what you say .
I see alot of ppl talking down on branford's performance compared to carter's ...when we should embrace the fact they are so different. many players you cant tell diffrence between them or anybody else but these 2 players have a unique approach in there own right
l'imagination débordante et la maîtrise toute aussi exceptionnelle de James Carter surpasse le jeu de Branford qui est pourtant excellent , comme toujours !
Carter Knows what a Tenor sax sound is, if he could put a mouthpiece on the end of the bell of his horn he would still technically great and sound great, there are no limits with Mr. carter, he just knows his instrument very very well.
James Carter est époustouflant. On dirait qu'il a intégré tous les sons de tous les sax qui ont déjà été joués sur terre, qu'il a intégré toutes les musiques, et il jongle avec tout cela avec une liberté exceptionnelle donnant à ses improvisations une fraîcheur, un lyrisme passionnant, ne cédant jamais à cette facilité de bons nombres d'improvisateurs interchangeables, on le suit, on part avec lui, il brode un châle de notes lumineuses.
As an "of-age" college student in the '60s, I was privileged to catch Sonny Stitt with Jug (greeted by huge cheers when he entered the McKee's Show Lounge after finishing his time in the Juliet Penitentiary. Another time it was 4 tenors (Sonny, Jug, Dexter, and Moody). One at a time they took the postage-stamp-sized stage, which also contained Donald Patterson's B3 and Billy James' drums within arm's reach from me on the other side of the bar. Later in the 70s, anyone in Chicago who followed Joe Segal and his Jazz Showcase had the luxury of enjoying as many as 4 tenor giants on a week-by-week basis. It was good-natured blood-sport. After 30 minutes of sparring on "Cherokee" Stitt went over to wipe the perspiration off of Donald's face. (After Patterson's passing, he lost interest in playing with B3 players.) One thing that distinguished all these guys was their knowledge of the repertory comprising the Great American Songbook and their ear for the recordings of Sinatra and Riddle on the Capitpl albums. Each exuded the calm, unruffled confidence like the masters they knew they were, but none was more "planted" and assured than Dexter, who would quote a host of familiar tunes, then find the moment to "stick" a surprising, altissimo, upper-harmonic note in your most vulnerable place. He was so confident, he would take the mic and recite the lyrics to some of the tunes--before or after playing the melody. Regardless of tempo, I never saw LT looking the least bit rushed or stressed. He just "knew" where the time was at each moment, and made it obey the needs of his own purposeful journey, not a note wasted. I like Branford's melodic approach coming out of the gate. Melody was always foremost to these guys. Moody was a step slower than the others, sometimes losing track of the progression, but it's all too easy to forget that it was he who, in 1949 in Sweden, recorded the immortal solo on "I'm in the Mood for Love." (not Bird!). Its melodic possibilities were so rich it was soon verbalized by Eddie Jefferson and became a recorded duet with King Pleasure and Blossom Dearie. Eventually, it was a duet sung by Moody himself (singing both the man's and woman's part), practically on a nightly basis. Rhythmically, the emphasis was on cleanly articulated 8th notes, which frequently were double-timed to 16ths when Stitt jumped in for his say. But between 1955 and 65 no player was more melodic than Hank Mobley--so committed to making melodic sense without repeating himself that pyrotechnics were never required. Getz, Rollins and Coltrane were always solo acts--charging too much for managers to book them as extras in a club. There was no room for McCoy at McKee's, so Coltrane summoned Eric Dolphy to take his place. Oliver Nelson loved to go head-to-head with Eric (3 albums) but also Phil Woods, Jimmy Forrest, King Curtis.
Obviously a Branford fan but what you are expressing is sadness at seeing the truth being revealed before your very eyes and ears. James Carter is the real thing and guess what....he doesn't shout it out to the world with a megaphone like the self-styled leader Marsalis. His playing does all of the talking and what a joyful noise it is.
Man, I don’t care at all about any of that. Really I don’t even go there. My response is largely in part due to the comments I was reading like yours. Branford has done a lot for this music. In many different genres. He has done a lot for the saxophone, he’s a very outspoken person guiding the music in the right direction. So again, I really don’t care about your strong opinions of whether who’s better or not. Branford has nothing to prove to anyone. His roots are deep.
I came up hearing Stitt and Jug at McKee's 63rd and Cottage, then Joe Segal's Jazz Showcase at different locations near the loop, 2-4 tuff tenors every single week, incl. Dexter, Jaws, Moody, Byas, Zoot and Al. What I'm hearing here has some resemblance to Coltrane's last 12-18 months, after Elvin and McCoy had left the Quartet. Trane emptied Solder's Field and then did the same at U. of Wisconsin Studio Union (with assistance of Shepp and Sanders--sheer cacophany. At least, Branford plays some melodic phrases, even reminding me of Hank Mobley. But still way short.
Wow ,we need more of this to share ideas to keep music more competitive .Brandford and James sound good together they should do a cd and get down with the music,no time like NOWFloyd
Its gotta be tough to share a stage with JC. Seems he can make just about anyone sound like a rook or an old man all at once... I'm not saying Branford sounded bad at all, but I know he's got a lot more in him than he showed here. That said, around 2002-2003 I did get a chance to see a few sets with James Carter and David Murray in Oakland, CA and holy smokes did they blow the roof off! I would pay a lot of money for a recording of those shows.
Branford te admiro mucho y considero que eres unos de los mejores pero Carter es un saxofónista fuera de serie tiene muchos recursos y efectos que como saxofonistas ameritan de muchisima práctica y estudio pero ambos son excelentísimo maestros pocos como uds en el mundo. @ericvisatman
Branford didn't fall into the sax acrobatics trap with JC. He did his thing and stayed in his lane. James Carter simply does things on the sax that not many can duplicate. As far as the notes are concerned, Branford's transcription is probably what I would prefer...but this is the most I've enjoyed a performance by Carter to date. Both are great in their own way.
This reminds me of when I saw Wynton Marsalis trading with Jon Faddis and Freddie Hubbard. Wynton and Freddie was going for the jugular and Wynton went in the opposite direction. It's hard to compete with a player like James Carter. But I like Branford better with the metal mouthpiece than the hard rubber. The rubber sounds nice and smooth, but it doesnt cut and resonate like the metal. There are certain tenor players whose style is suited for the hard rubber sound. But Brandford's signature sound is the metal sound (either his metal link or the Guardela mouthpiece). Just my opinion.
I agree. I was thinking that today. Even though i play a rubber piece now, for him, i agree with you. Branford doesnt go for the show, biz playing. thats one of the things I love about his playing. He shreds when it is appropriate but not to impress The music demands it when he does it. James tries to impress with stuff that is not impressive to a mature listener. I know he can play.
Wynton "went in the opposite direction" as you wrongly described it because he simply could not hang! Period. If you understand this music you would know this. Great classical players but Jazz?......questionable. They are no James Carter or FreddieHubbard.
@@QuadriviumNumbers Bruh…..I probably forgot more music then you know. I’ve been playing this music actively for over 40 years. So I KNOW what I’m talking about. Wynton is a freakin musical genius of the highest order. Not only as a jazz trumpeter but as a composer, educator and arranger. That old talk about him being a great classical trumpet player (as opposed to a great jazz trumpet player) is tired and old. You seem like one of those cats who is just hating.. I was there when Wynton was playing with John Faddis and Freddie Hubbard in Philadelphia at Penns Landing. So let me educate you on what was happening before you get on your high horse. What happened was Freddie Hubbard was playing all that high shit that Jon Faddis plays, and Faddis was playing all that Freddie Hubbard shit. Both players were playing out of the ego (but in a playful kind of way). Wynton saw no need to compete with that because it would have been pointless. He stayed in his own lane and sounded brilliant. To say he couldn’t compete is total bullshit! I’ve heard Wynton play some shit on trumpet that was mind blowing. In fact on the same concert Wynton played a ballad that tore the house down, and I personally saw Freddie Hubbard come over and give him his props. So bruh, miss with all that uppity jazz bullshit. No one can take anything from a cat like Wynton Marsalis. Whether you love him or hate him, he was the central figure that led the Young Jazz Lions Movement that brought about people like Christian McBride, Roy Hargrove, and others. I know, because I’m from that era and I was there. Now come again.
Disagree he's crushing the changes playing the blues and some filthy substitutions while at 8:30 Branford can't even play a single line in the altissimo
This from a fellow "sax player," an extremely questionable EWI player and an obvious Branford fan.🤣 Judging from your own playing, are you sure you are even qualified to comment here? Are you sure you know what it sounds like when someone plays the changes? 🤣 Bless your heart.
That's an interesting statement. Glad you took the time to look me up. I’m flattered. I tried to do the same expecting to hear how great you are but you don’t appear to exist outside of TH-cam. Maybe you’re shy? IDK I think where you’ve gone wrong (as most faceless internet trolls) do is use a “Ad hominem” response which attacks the person and not the argument. Do you need to be a Chinese chef to know why you do or do not like a specific Chinese Restaurant? Can you see how silly that sounds? Even if we were to follow your very questionable thought process: neither of them are playing the EWI here so what on earth does that have to do with anything? You’ve also used what’s called a “Hasty generalisation” I must be (an obvious Branford fan) to make your comment hold more weight hasn’t worked out well also. An appreciation of someones playing saxophones playing over the other guy doesn’t make you fan. Perhaps you could show me how it’s done and also point out where you think cliches, tricks stop and pure improvisation starts with MR Carter in this particular clip? Thanks for the blessing … But I’m clearly not the one who needs it :)@@QuadriviumNumbers
Carter is a monster, his brain must work in double sixty fours, his lungs must be the size of Volkswagens, his hands secretive touching the keys lightly while moving at speeds only Superman could achieve. Never a player with his talent ever walked the stage. Sure hope he passes the skills down to the next generation ôf players? Always amazed.
And then there were and are guys like coltrane, brecker, redman, potter, parker, the pres.. Each with their unique style and each with tons of talent.. Never say, that theres a guy no one can compare with... Carter is good, but he plays technically. At some points pointless. I like the musically style more ;)
Branford is a great saxophonist with a great orthodox sound.He however seems to have cowered under James Carter's saxophonic pugnacity and 'friendly' wrath. He intimidatingly held back on his improvisational dexterity, wearing a visage of the vanquished, Branford. In "Straight, No Chaser", Joshua Redman has stood his ground. Of course, orchestral rules and the requisition of structural and organizational discipline have restrained James' cantankerous superfluity, which display, nonetheless, demonstrates the eminence and magnitude of his saxophonic poignancy. I do hope Branford's confidence has neither been compromised or modified. 'Never attempt to change course mid-stream', I have heard an old sage say advisably. Great performance, gentlemen! He remains one of the best tenor and soprano saxophone artists with an excellent sound-voice and an improvisational style that is extemporaneously well-structured and adheres to exemplary coherence of thought and execution. I'll appreciate hearing them together in an orchestral setting with strings. Both artists are able-bodied performers with Strings, Brasswind and Woodwind accompaniments.
+wyndhl eodumegwu I disagree. Branford just knows how to improvise while keeping the original style in the front of his mind. Both Carter's and Branford's solos on this song work well, and exactly as they intended.
+Shyam Natarajan I completely agree. Branford sticks to a traditional form of soloing like charlie parker. but james carter has a modern wild form of soloing like michael brecker. They are both great players, just different genre specifications
+12comet12 Each one's body language during the solo tells half the story. I do see neither the great Branford's style of playing in Charlie Parker's nor James Carter's being wild and in the mode of Michael Breaker. I have seen Branford several times - even in friendly duel with the great Sonny Rollings more than 25-years ago at Carnegie Hall, New York, New York, USA. He stood his musical ground competitively and superbly, eclipsing the colossal Sonny Rollins intermittently. Herein, Branford has politely held back; so it seems to me. He is capable on this set of twice [more] his well-structured, well- presented solos which, nonetheless, are beautifully coherent, and logical in its developmental spontaneity and progression. OK, now! You do; and that's OK too!
I think it's two things, 1 Branford likes to play completely in, and two, he probably doesn't practice all the time like James Carter does LOL, which would reduce his ability to fly all over the horn.
Branford is waaay out of his league! This is embarrassing but even more than that, it's telling. Branford has managed to convince people he's a Jazz musician but we rarely if EVER see him playing alongside serious horn men. It's reminiscent of Branford and Michael Brecker back in the Guardala days, Brecker made him sound like a beginner...tone, technique and chops. James Carter is the *real* thing. Magnificent!
I heard some Branford solos when he was with the late Dizzy Gillespie. He's really great but James Carter is much greater coz he was heavy influenced by John Coltrane.
It's not painful at all to watch for me., There are just two different musicians with a total different approach to the music. I can truly appreciate both of them. Branford & James both extraordinary saxophonist.
It's almost embarrassing. Branford paints himself as an authority because he has always been in competition with his brother but he's painfully mediocre. The truth is revealed when you stand next to a James Carter. Branford makes a point of NOT playing with any tenor masters.
I’ve never been impressed with Branford Marsalis. Same boring lines that were interesting 60 years ago. He’s about being safe, traditional, no risks, doesn’t want to upset Stanley Crouch and Wynton Marsalis or Daddy Ellis Marsalis. The Marsalis brothers kill jazz. They want it halted and then brought into academia and studied to make it simpler for them to get. That produces playing like Branford’s and Eric Alexander. James Carter can play anything Marsalis can but not vice versa. James Carter is about learning the roots and then expanding.
Christian St. Marseille yes that’s why Brandon Marsalis is so boring and pointless to listen to. Zero innovation. He and his brother pretend it’s some accomplishment to transcribe 1940s solos and repeat the lines. It kills the music. He’s not even that great at using “the vocabulary”. All that attention, fame, and money and he just sits on it.
@@Guy-em4ck Well said.! I would say he's overrated but his own family are responsible for putting themselves on such a high pedestal. Branford clearly uses the vocabulary in the way of an average student at best. It's nice to hear an actual discerning listener instead of the usual Marsalis club members commenting. He's really a classical saxophonist NOT JAZZ!
@@QuadriviumNumbers Agreed. I think Wynton is much better at both jazz and classical. I've never listened to something Branford has played more than once
James Carter puts the entire history of the Sax in his solos. Everything from Swing to Free. You never know what you're going to get but you know it will be good.
That's Doctor Professor Leonard King
What a great pair of saxplayers.The band was cold
Branford is smooth as butter &James ain't shortstoppinĝ neither
James Carter, just too darn good. Always on the wild side! Being old I like the Getz and Coletrane sound. Carter just blows my brain out! If he ever comes to Bemidji State send me a ticket! Winter we need a warmth.... Carter style.
Why is it that most people make saxophone playing a competition? Enjoy each for what they are, unique and wonderful.
Thats that instruments culture, competition is healthy it makes one to dig deeper into your capabilities, and "steal" some ideas and put your own swing to it .
I agree but that's living in America, everything's a boxing match.
It ain't about tripping ,it's about learning &growing. Rooty
. poot motherfuckers who don't know nothing about music or can't play be coming up with that boxing match ghetto mentality
Cats are up on the stand having fun. That's what music is really all about.
@@arthurholloway-bu4gu really? Well as miles Davis said, don’t destroy the beginner, they will play something you haven’t and you can learn from them.
And as Kirk Whalem told me, “it’s just free expression, just don’t play, say something “
@Claude Roberts Didn't I say that it's about learning&growing? I was just talking about the way some people come at you Far be it from me to put down anything or anybody
It's all good to me.I'm with you on what you say
.
I see alot of ppl talking down on branford's performance compared to carter's ...when we should embrace the fact they are so different. many players you cant tell diffrence between them or anybody else but these 2 players have a unique approach in there own right
l'imagination débordante et la maîtrise toute aussi exceptionnelle de James Carter surpasse le jeu de Branford qui est pourtant excellent , comme toujours !
Carter Knows what a Tenor sax sound is, if he could put a mouthpiece on the end of the bell of his horn he would still technically great and sound great, there are no limits with Mr. carter, he just knows his instrument very very well.
James Carter est époustouflant. On dirait qu'il a intégré tous les sons de tous les sax qui ont déjà été joués sur terre, qu'il a intégré toutes les musiques, et il jongle avec tout cela avec une liberté exceptionnelle donnant à ses improvisations une fraîcheur, un lyrisme passionnant, ne cédant jamais à cette facilité de bons nombres d'improvisateurs interchangeables, on le suit, on part avec lui, il brode un châle de notes lumineuses.
James Carter is amazing !!! Master!!!!
Have to dig the fact that Carter connects with the old school of cutting contests
As an "of-age" college student in the '60s, I was privileged to catch Sonny Stitt with Jug (greeted by huge cheers when he entered the McKee's Show Lounge after finishing his time in the Juliet Penitentiary. Another time it was 4 tenors (Sonny, Jug, Dexter, and Moody). One at a time they took the postage-stamp-sized stage, which also contained Donald Patterson's B3 and Billy James' drums within arm's reach from me on the other side of the bar. Later in the 70s, anyone in Chicago who followed Joe Segal and his Jazz Showcase had the luxury of enjoying as many as 4 tenor giants on a week-by-week basis. It was good-natured blood-sport. After 30 minutes of sparring on "Cherokee" Stitt went over to wipe the perspiration off of Donald's face. (After Patterson's passing, he lost interest in playing with B3 players.)
One thing that distinguished all these guys was their knowledge of the repertory comprising the Great American Songbook and their ear for the recordings of Sinatra and Riddle on the Capitpl albums. Each exuded the calm, unruffled confidence like the masters they knew they were, but none was more "planted" and assured than Dexter, who would quote a host of familiar tunes, then find the moment to "stick" a surprising, altissimo, upper-harmonic note in your most vulnerable place. He was so confident, he would take the mic and recite the lyrics to some of the tunes--before or after playing the melody. Regardless of tempo, I never saw LT looking the least bit rushed or stressed. He just "knew" where the time was at each moment, and made it obey the needs of his own purposeful journey, not a note wasted.
I like Branford's melodic approach coming out of the gate. Melody was always foremost to these guys. Moody was a step slower than the others, sometimes losing track of the progression, but it's all too easy to forget that it was he who, in 1949 in Sweden, recorded the immortal solo on "I'm in the Mood for Love." (not Bird!). Its melodic possibilities were so rich it was soon verbalized by Eddie Jefferson and became a recorded duet with King Pleasure and Blossom Dearie. Eventually, it was a duet sung by Moody himself (singing both the man's and woman's part), practically on a nightly basis.
Rhythmically, the emphasis was on cleanly articulated 8th notes, which frequently were double-timed to 16ths when Stitt jumped in for his say. But between 1955 and 65 no player was more melodic than Hank Mobley--so committed to making melodic sense without repeating himself that pyrotechnics were never required.
Getz, Rollins and Coltrane were always solo acts--charging too much for managers to book them as extras in a club. There was no room for McCoy at McKee's, so Coltrane summoned Eric Dolphy to take his place. Oliver Nelson loved to go head-to-head with Eric (3 albums) but also Phil Woods, Jimmy Forrest, King Curtis.
Nicely informative reading your discourse!
Am seeing Branford Marsalis tomorrow night at SFJAZZ. This big James Carter fan is very excited to be seeing Marsalis!
People, Bran has nothing to prove.
Obviously a Branford fan but what you are expressing is sadness at seeing the truth being revealed before your very eyes and ears. James Carter is the real thing and guess what....he doesn't shout it out to the world with a megaphone like the self-styled leader Marsalis. His playing does all of the talking and what a joyful noise it is.
Man, I don’t care at all about any of that. Really I don’t even go there. My response is largely in part due to the comments I was reading like yours. Branford has done a lot for this music. In many different genres. He has done a lot for the saxophone, he’s a very outspoken person guiding the music in the right direction. So again, I really don’t care about your strong opinions of whether who’s better or not. Branford has nothing to prove to anyone. His roots are deep.
James Carter is the greatest of our time
Absolutely.
I came up hearing Stitt and Jug at McKee's 63rd and Cottage, then Joe Segal's Jazz Showcase at different locations near the loop, 2-4 tuff tenors every single week, incl. Dexter, Jaws, Moody, Byas, Zoot and Al. What I'm hearing here has some resemblance to Coltrane's last 12-18 months, after Elvin and McCoy had left the Quartet. Trane emptied Solder's Field and then did the same at U. of Wisconsin Studio Union (with assistance of Shepp and Sanders--sheer cacophany. At least, Branford plays some melodic phrases, even reminding me of Hank Mobley. But still way short.
Phantastisches Duett!
Warum spielen die Profis lmmer mit SELMER SAX??
My 11 year old play the saxophone and she is like mom I want to be that good! Cute
Innerbeauty Barden
So she’s 14 now? How is it coming along?
This IS music. Dueling is for to music only. Its not competition
Wow ,we need more of this to share ideas to keep music more competitive .Brandford and James sound good together they should do a cd and get down with the music,no time like NOWFloyd
Its gotta be tough to share a stage with JC. Seems he can make just about anyone sound like a rook or an old man all at once... I'm not saying Branford sounded bad at all, but I know he's got a lot more in him than he showed here.
That said, around 2002-2003 I did get a chance to see a few sets with James Carter and David Murray in Oakland, CA and holy smokes did they blow the roof off! I would pay a lot of money for a recording of those shows.
James Carter is the best there is as far as I'm concerned. I want to see him on tour!
GEN ! CATER!!!!
Branford te admiro mucho y considero que eres unos de los mejores pero Carter es un saxofónista fuera de serie tiene muchos recursos y efectos que como saxofonistas ameritan de muchisima práctica y estudio pero ambos son excelentísimo maestros pocos como uds en el mundo. @ericvisatman
kenneth james thanks 😊
James Carter, JC, sur les traces d'un autre monumental JC ... L'unique John Coltrane
What a treat
Nice jam :-)
extra sa donne des frissons tellement ç'est bon
Excellence...
Carter brings the R&B into his solo's get rid of the chromatics great player.
Branford didn't fall into the sax acrobatics trap with JC. He did his thing and stayed in his lane. James Carter simply does things on the sax that not many can duplicate. As far as the notes are concerned, Branford's transcription is probably what I would prefer...but this is the most I've enjoyed a performance by Carter to date. Both are great in their own way.
drummer has no chill
JC does it again
This reminds me of when I saw Wynton Marsalis trading with Jon Faddis and Freddie Hubbard. Wynton and Freddie was going for the jugular and Wynton went in the opposite direction.
It's hard to compete with a player like James Carter. But I like Branford better with the metal mouthpiece than the hard rubber. The rubber sounds nice and smooth, but it doesnt cut and resonate like the metal. There are certain tenor players whose style is suited for the hard rubber sound. But Brandford's signature sound is the metal sound (either his metal link or the Guardela mouthpiece). Just my opinion.
I agree. I was thinking that today. Even though i play a rubber piece now, for him, i agree with you. Branford doesnt go for the show, biz playing. thats one of the things I love about his playing. He shreds when it is appropriate but not to impress The music demands it when he does it. James tries to impress with stuff that is not impressive to a mature listener. I know he can play.
@Xevi-Cortez Wilson his time is objectively bad. the entire band's swing suffers because of him which is why he's hard to listen to
Wynton "went in the opposite direction" as you wrongly described it because he simply could not hang! Period. If you understand this music you would know this. Great classical players but Jazz?......questionable. They are no James Carter or FreddieHubbard.
@@QuadriviumNumbers Bruh…..I probably forgot more music then you know. I’ve been playing this music actively for over 40 years. So I KNOW what I’m talking about.
Wynton is a freakin musical genius of the highest order. Not only as a jazz trumpeter but as a composer, educator and arranger. That old talk about him being a great classical trumpet player (as opposed to a great jazz trumpet player) is tired and old. You seem like one of those cats who is just hating..
I was there when Wynton was playing with John Faddis and Freddie Hubbard in Philadelphia at Penns Landing. So let me educate you on what was happening before you get on your high horse.
What happened was Freddie Hubbard was playing all that high shit that Jon Faddis plays, and Faddis was playing all that Freddie Hubbard shit. Both players were playing out of the ego (but in a playful kind of way). Wynton saw no need to compete with that because it would have been pointless. He stayed in his own lane and sounded brilliant. To say he couldn’t compete is total bullshit!
I’ve heard Wynton play some shit on trumpet that was mind blowing. In fact on the same concert Wynton played a ballad that tore the house down, and I personally saw Freddie Hubbard come over and give him his props.
So bruh, miss with all that uppity jazz bullshit. No one can take anything from a cat like Wynton Marsalis. Whether you love him or hate him, he was the central figure that led the Young Jazz Lions Movement that brought about people like Christian McBride, Roy Hargrove, and others. I know, because I’m from that era and I was there.
Now come again.
omg that shit at 10:11 is totally fucked up. Carter's crazy
🌱💙😃🌸
Winner Mr. James Carter
Hell no
Hands down!
Jurassic Classic Giants
Alguém pode informar a marca da boquilha de James Cárter
James seems to be preoccupied on how to do everything on the Sax apart from play chord changes.
Disagree he's crushing the changes playing the blues and some filthy substitutions while at 8:30 Branford can't even play a single line in the altissimo
This from a fellow "sax player," an extremely questionable EWI player and an obvious Branford fan.🤣
Judging from your own playing, are you sure you are even qualified to comment here? Are you sure you know what it sounds like when someone plays the changes? 🤣 Bless your heart.
That's an interesting statement. Glad you took the time to look me up. I’m flattered.
I tried to do the same expecting to hear how great you are but you don’t appear to exist outside of TH-cam. Maybe you’re shy? IDK
I think where you’ve gone wrong (as most faceless internet trolls) do is use a “Ad hominem” response which attacks the person and not the argument.
Do you need to be a Chinese chef to know why you do or do not like a specific Chinese Restaurant? Can you see how silly that sounds?
Even if we were to follow your very questionable thought process: neither of them are playing the EWI here so what on earth does that have to do with anything?
You’ve also used what’s called a “Hasty generalisation” I must be (an obvious Branford fan) to make your comment hold more weight hasn’t worked out well also. An appreciation of someones playing saxophones playing over the other guy doesn’t make you fan.
Perhaps you could show me how it’s done and also point out where you think cliches, tricks stop and pure improvisation starts with MR Carter in this particular clip?
Thanks for the blessing … But I’m clearly not the one who needs it :)@@QuadriviumNumbers
great band but together
Carter is a monster, his brain must work in double sixty fours, his lungs must be the size of
Volkswagens, his hands secretive touching the keys lightly while moving at speeds only Superman could achieve. Never a player with his talent ever walked the stage. Sure hope he passes the skills down to the next generation ôf players? Always amazed.
And then there were and are guys like coltrane, brecker, redman, potter, parker, the pres.. Each with their unique style and each with tons of talent.. Never say, that theres a guy no one can compare with...
Carter is good, but he plays technically. At some points pointless. I like the musically style more ;)
Sebastian Sprotte I wish I had the ear and knowledge you have to understand the music as you do.
@@Clauderoberts29 just listen to music ;)
That look @11.29...hahahaha
What song is this? Please tell me!
kING!!!!!!!!!! cARTER!!!! saxx!!!
TENOR!!!!!!!!!!!!!!!!!!!!!! MONDIAL:!!!!
what tenor sequence is this?
Awesome, thank you for sharing. 'The Lick at 2:38'?
Thanks it was so great!! I ask James Carter if i could post it on TH-cam, was no problem, powerful men!
***** Thanks was also special to be there on that place.
What is the name of the piece?
Carter the Great.
JamesCarter did that
Does anyone know what tune James starts quoting at 8:44?
Benjamin Harlee flying home
Stuffy Turkey!!
I could tell the drummer what to do with his cymbal
what is the name of the Tune please ???? :)
The name of the tune is Stuffy by Leo parker .
@@@kennethjames7571 it's actually from Coleman Hawkins from 1952 Kenneth (would be my guess)
Branford's Burial in Db.
How is called this tune Please ?
The name of the tune is Stuffy by Leo parker
Actually Its by the Hawk I believe
right Gavin, from the Hawk from 1952!@@tenorsaxguy2
Branford is a great saxophonist with a great orthodox sound.He however seems to have cowered under James Carter's saxophonic pugnacity and 'friendly' wrath.
He intimidatingly held back on his improvisational dexterity, wearing a visage of the vanquished, Branford.
In "Straight, No Chaser", Joshua Redman has stood his ground. Of course, orchestral rules and the requisition of structural and organizational discipline have restrained James' cantankerous superfluity, which display, nonetheless, demonstrates the eminence and magnitude of his saxophonic poignancy.
I do hope Branford's confidence has neither been compromised or modified. 'Never attempt to change course mid-stream', I have heard an old sage say advisably.
Great performance, gentlemen!
He remains one of the best tenor and soprano saxophone artists with an excellent sound-voice and an improvisational style that is extemporaneously well-structured and adheres to exemplary coherence of thought and execution.
I'll appreciate hearing them together in an orchestral setting with strings.
Both artists are able-bodied performers with Strings, Brasswind and Woodwind accompaniments.
+wyndhl eodumegwu I disagree. Branford just knows how to improvise while keeping the original style in the front of his mind. Both Carter's and Branford's solos on this song work well, and exactly as they intended.
+Shyam Natarajan
OK, now!
+Shyam Natarajan I completely agree. Branford sticks to a traditional form of soloing like charlie parker. but james carter has a modern wild form of soloing like michael brecker. They are both great players, just different genre specifications
+12comet12
Each one's body language during the solo tells half the story.
I do see neither the great Branford's style of playing in Charlie Parker's nor James Carter's being wild and in the mode of Michael Breaker.
I have seen Branford several times - even in friendly duel with the great Sonny Rollings more than 25-years ago at Carnegie Hall, New York, New York, USA.
He stood his musical ground competitively and superbly, eclipsing the colossal Sonny Rollins intermittently.
Herein, Branford has politely held back; so it seems to me. He is capable on this set of twice [more] his well-structured, well- presented solos which, nonetheless, are beautifully coherent, and logical in its developmental spontaneity and progression.
OK, now!
You do; and that's OK too!
I think it's two things, 1 Branford likes to play completely in, and two, he probably doesn't practice all the time like James Carter does LOL, which would reduce his ability to fly all over the horn.
As good or better than the Bird
No Bird, no him.
Razorsharpedge I call Carter the new Bird.
Bird Lives
Branford is waaay out of his league! This is embarrassing but even more than that, it's telling. Branford has managed to convince people he's a Jazz musician but we rarely if EVER see him playing alongside serious horn men. It's reminiscent of Branford and Michael Brecker back in the Guardala days, Brecker made him sound like a beginner...tone, technique and chops.
James Carter is the *real* thing. Magnificent!
You obviously don't play saxophone.
I heard some Branford solos when he was with the late Dizzy Gillespie. He's really great but James Carter is much greater coz he was heavy influenced by John Coltrane.
This is painful in some ways to watch. IMO
It's not painful at all to watch for me., There are just two different musicians with a total different approach to the music. I can truly appreciate both of them. Branford & James both extraordinary saxophonist.
It's almost embarrassing. Branford paints himself as an authority because he has always been in competition with his brother but he's painfully mediocre. The truth is revealed when you stand next to a James Carter. Branford makes a point of NOT playing with any tenor masters.
I’ve never been impressed with Branford Marsalis. Same boring lines that were interesting 60 years ago. He’s about being safe, traditional, no risks, doesn’t want to upset Stanley Crouch and Wynton Marsalis or Daddy Ellis Marsalis. The Marsalis brothers kill jazz. They want it halted and then brought into academia and studied to make it simpler for them to get. That produces playing like Branford’s and Eric Alexander. James Carter can play anything Marsalis can but not vice versa. James Carter is about learning the roots and then expanding.
Christian St. Marseille yes that’s why Brandon Marsalis is so boring and pointless to listen to. Zero innovation. He and his brother pretend it’s some accomplishment to transcribe 1940s solos and repeat the lines. It kills the music. He’s not even that great at using “the vocabulary”. All that attention, fame, and money and he just sits on it.
@@Johnwilkinsonofficial congrats. No one cares
@@Guy-em4ck Well said.! I would say he's overrated but his own family are responsible for putting themselves on such a high pedestal. Branford clearly uses the vocabulary in the way of an average student at best. It's nice to hear an actual discerning listener instead of the usual Marsalis club members commenting. He's really a classical saxophonist NOT JAZZ!
@@QuadriviumNumbers Agreed. I think Wynton is much better at both jazz and classical. I've never listened to something Branford has played more than once