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Entering into the music of the Kent Carter String Trio can be an unsettling experience. One has the feeling that fiction and reality have conspired to ensnare us in their own magic web. We arrive, curious and confident, ready to listen to the music that a famous American double bass player Kent Carter, a prominent exponent of contemporary jazz, has written for a string trio, a traditional line-up in European chamber music. And this is such music, even though in this case the double bass has replaced the 'cello to create, almost imperceptibly, an unusual atmosphere.
Any music-lover wandering in the vast forest of strings, and not going round in circles, must one day arrive at one of the intersections where Kent Carter awaits them. In their turn they will be able to experience the pleasure of being transported into a universe that's almost familiar, unless they discover an unknown universe where they feel at home.

BERNARD PROUTEAU (2006) translated by Charles Fox with additional work by Caroline Kraabel and Martin Davidson


"Legendary bassist Kent Carter's broad musicality is about much more than simply dabbling within fleeting interests, as evident on this quasi-chamber jazz session. Whether performing within free jazz circles or the modern mainstream, Carter is often an intense stylist. On this string trio endeavour, the bassist serves as the anchor while enjoying ample breathing room among his bandmates' zigzagging staccato lines.
Cerebral in scope yet sometimes fragile with intent, the band pursues daintily melodic chamber frameworks while also generating a number of unexpected surprises. On Intentions #1, the artists deliver inwardly moving choruses offset by verbose exchanges, and the strings introduce scraping based tonalities where whimsy and angst share common ground. During this evolving state of musical affairs, the trio communicates strength and passion through mood-altering pastiches of sound. During selected movements, they create a gnomic existence while also inducing trance-like states via circular unison lines. The various plots are ingrained within sonorous interchanges and ominous undercurrents.
On Who Might That Be? the trio develops a walking motif, accentuated by violinist Albrecht Maurer's nimble plucking manoeuvres. Ultimately, the art of improvisation maintains equilibrium with the compositional element. Therefore, the music is not overbearing or steeped within directionless flows. Contrarily, the instrumentalists align technical proficiency with intersecting storylines that bespeak uniformity and an entrancing degree of flux. Repeated listens tend to divulge newfound surprises here. "

"The Kent Carter String Trio shines through nine sensitive pieces (three written by Carter, one each by Maurer and Mickiewicz and four collective ones). Understanding what's scored and what's instead improvised is quite difficult, as everything sounds extremely arranged even in the most indescribable sections. There are lots of directions one can look to, minimalism and a sort of 'modern baroque' being a couple of them; yet, the elegant eloquence of these tracks sets a very high standard, which is all the more appreciated given the absolute lack of pretentiousness and pomp characterizing the playing. Delicately melancholic themes and Reichian tapestries enrapture through their sheer exquisiteness; dissonant pluralities and almost sorrowful counterpoints ask for some space in the silence of apparently wasted autumnal afternooons. Carter, Maurer and Mickiewicz are linked by an invisible thread which gives their music its coherence, making them sound always conscious of what happens to the others despite the fact that they're completely absorbed by the very same incantations they create. INTERSECTIONS is a splendid album, one that instantly captures your attention yoking it to the seductive power of its adamant beauty. As far as I'm concerned, it's one of 2006's best releases and comes very highly recommended."

"I found INTERSECTIONS to be exquisite. And while the liners are a bit too flowery for my tastes, they nonetheless seem to do a marvellous job of pointing out the varied and refined impulses behind the sound. Having listened to the CD before reading them, I was, I must admit, a bit tickled to see references to renaissance and baroque musics, because I clearly heard them as well. I also thought of contemporary classical composers whose aesthetic might be viewed as conservative, but whose work still displayed a clear sense of far reaching introspective invention. (Lutoslawski and Samuel Barber at his most risk-taking came immediately to mind.) I was also struck by what a clear language Kent has developed, as the linkage to work from several decades ago is readily apparent; a language that is can be clearly heard in the spontaneously generated pieces as much as the compositions(!). Aspects of his language seem to include a penchant for subtle extended techniques, including microtonal colorations, as well as an uncanny ability to create works with what appear to be disparate sections, which, ultimately, blend together seamlessly with a logic all their own. The only (and VERY slight) criticism I could make is that some of the solo work is overly beholding to 'classical' figures (akin to a bebopper/mainstreamer running the scales, or a free jazzer running the squeals), but, to reiterate that's a minor quibble."
MILO FINE - private email 2006


1. March 17 (K.Carter) 15:17
2. Blithe (collective) 5:22
3. Eigens für Eidens (A.Maurer) 13:11
4. Intersection #1 (K.Carter) 3:22
5. Exuberance (collective) 10:43
6. Pulapka (K.Mickiewcz) 6:06
7. Who might that be (collective) 3:08
8. Blues Suite (K.Carter) 8:59
9. In the mean time (collective) 2:46

Kent Carter String Trio

Albrecht Maurer - Violine

Katrin Mickiewicz - Viola

Kent Carter - Kontrabass

emanem 4130 - 9 tracks

total time 69:00 - 2006


erhältlich bei:



Calle Humo 12
18440 Granada
España (Spain)


Jenny Otto

01573 1747675

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“... Deutlich hörbar in dieser Freiluft- "Kammermusik" ist die gemeinsame Neigung zu warmen, feinen Nuancen und melodienahen Klängen, die im südfranzösischen Licht ihre Wurzeln in einer romantischen Emotionalität kein bisschen verleugnen...  Bad Alchemy / Österreich

“... Sie setzen in wunderbarer Übereinstimmung ihre Saiten in Schwingung... Bestechend ist der zwanglose spontane Umgang mit den musi- kalischen Parametern, und eine außer ordent-liche Empfindsamkeit auf ihren Streifzügen durch einen emanzipierten Klangkosmos. Am Ende kann man diese Musik nicht mehr aus dem Gedächtnis streichen... ” HAN - Jazzlive / Österreich

“... Dies ist ein Treffen von Meistern der Improvisation, das immer anregend ist. Sie kreieren eine überzeugende Sammlung unterschiedlicher musikalischer Wechsel- wirkungen. Viele Leute werden gefesselt sein von der Einzigartigkeit des Klanges und der unglaublichen Schönheit dieser Musik... ” 

Steven Loewy - Cadence Magazine / Kanada

top 10 - Chicago Jazz Radio WNUR in the list of the Year 2006

“... The new string trio disc is absolutely amazing. I had very high expectations for this, as I had voted the last one in my top ten and the Maurer/ Carter duets has been one of my favorite recordings since the first day I heard it. But this new one is absolutely skullsmashingly beautiful. I've been listening to it on repeat now for four hours straight and just can't believe how great it is. Thank you, again. ”  Andrew Choate - Radio IMC / Los Angeles

Legendary bassist Kent Carter’s broad musicality is about much more than simply dabbling within fleeting interests, as evident on this quasi-chamber jazz session.  Glenn Astarita - All about Jazz / USA

“... Kent Carter fully succeeds in proposing a unique sound “ ... “designing very pure landscapes that slowly takes the listener into a different universe. Its softness – which covers some very strong inner dynamics – and its subtle structures offer a definitely new direction in the music of today. ”   Laurent Goddet - Jazz Hot Magazine / Paris 

"This is chamber music of a high order, whose eloquent but understated beauty sinks in deeper with every listen. Compositions like "Blues Suite and Pulapka suggest a hybrid between jazz and Renaissance and Baroque dance-forms, while the fully-improvised tracks have a Bartokian or Stravinskian flavour. Carter, violinist Albrecht Maurer and violist Katrin Mickiewicz fit together hand-in-glove, to the point where the group's intuitive, moment-to-moment interplay obliterates distinctions between improvisation and composition. One of the most sheerly enjoyable releases of 2006."
Nate Dorward - Exclaim 2006



Kent Carter

"Kent Carter war immer ein höchst inspirierter Solist mit einer großen Persönlichkeit. Er ist einer der lebendigsten und aufregendsten Musiker, die die kreative musikalische Szene derzeit anbieten kann" (Laurent Goddet).

Er arbeitete seit 1964 mit Paul Bley, Carla Bley, Michael Mantler, Steve Lacy, Don Cherry, Gato Barbieri, Alan Silva, Mal Waldron, Michael Smith, Bobby Bradford, Max Roach, Enrico Rava, Roswell Rudd, Derek Bailey, John Stevens, Trevor Watts, Steve McCall und vielen anderen zusammen. 1970 ging er mit Steve Lacy nach Paris und spielte mehr als 10 Jahre lang in Lacy´s Quintett. Daneben gründete er das Trio TOK mit Takashi Kako und Oliver Johnson, mit zahlreichen Aufnahmen in Japan und für ECM in Europa. Außerdem spielte er mit Archie Shepp, Mal Waldron, Anthony Braxton, John Tchicai, Trevor Watts, Don Cherry und vielen anderen. 1980 gründete er sein Streichtrio mit Carlos Zingaro, violin and Francois Dreno.

Kent Carter unterrichtete in den darauf folgenden Jahre an der Beaux Art School in Angouleme. In dieser Zeit tourte er mit The Magic Circus theatre company (Jerome Savory ) mit Stravinsky's "Geschichte vom Soldaten"  durch Südeuropa,  spielte mit dem Poitou-Charntes Symphony und trat mit dem Limousin Chamber Orchestra for 20th century music auf. Kent Carter war Mitglied des Trios DETAIL mit John Stevens - drums und Frode Gjerstad - tenor sax. Konzerte und Festivals in Norwegen und England und spielte auf dem Album "Less is More" mit Billy Bang Violine.

1994 war er Mitglied bei Albrecht Maurer Quartet Works mit Wolter Wierbos - Posaune und Achim Krämer - Percussion. 1997 gründete er das Kent Carter Project mit Klaus Kugel, Charlie Mariano, Karl Berger und Albrecht Maurer. Konzerttourneen in Deutschland, Österreich und Luxemburg. Er war Mitglied des Vysniauskas - Jörgensmann Quintets, sowie von Theo Jörgensmann Fellowship mit Charlie Mariano, Petras Vysniauskas, Karl Berger, Klaus Kugel. Mit der Petras Vysniauskas Group mit Oliver Lake, Karl Berger, Klaus Kugel konzertierte er in Litauen, Russland und Deutschland. Mit dem St. Christopher Chamber Orchestra – (Vilnius Litauen)  und dem Petras Vysniauskas Quartet gastierte er auf dem Jazz Festival Berlin. In Frankreich konzertierte er mit dem Don Cherry Memorial Ensemble mit Dewey Redman und gründete das Trio VOYAGE mit dem Sänger Benat Achiary und David Holms - Percussion. Er ist seit vielen Jahren Mitglied von DMI, Dance Music & Image.