Uptown Conversation Review

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Uptown Conversation ReviewRon Carter was and is one of the greatest acoustic bass players who ever played the instrument. When this album debuted in late 1969, it was a lean and quiet departure from the intense, electrified, visions of the likes of Miles Davis, John McLaughlin and others that were gaining currency at the end of the '60's. In fact, Uptown Conversation is more in the vein of Miles Davis's "Filles de Killimanjaro" release on which Carter and Herbie Hancock were part of Miles Davis's main quartet before Miles sailed off into his "Bitches Brew" fusion phase.
Keeping his group on this date to a few solid musicians (Herbie Hancock, Grady Tate, Hubert Laws, Sam Brown and Billy Cobham), Ron Carter stepped to the fore on Uptown Conversation and showed the world that he was not only a solid side man but a serious and mature composer in his own right. The songs on this album range from the upbeat "Einbahnstrasse" and "RJ" to the more moody and introspective "Doom" (a bass and piano dialogue with Herbie Hancock and Grady Tate on drums) and "Half a Row." The noodling "10 Strings" with Sam Brown on guitar (an underrated NY studio musician of that era) is probably the least accessible piece on the record. Nevertheless, it has its interesting moments. I think it and "Half a Row" are too long, and self-absorbed, which is why I give this album 4 stars.
My favorite cut on this album is "Little Waltz," a piece that emerges from a tasty and delicate bass solo into a langoruous 3/4 time quartet piece that Bill Evans would have been proud to have written, featuring some nice flute work by Hubert Laws. "Little Waltz" also appeared on an earlier release "Mean What you Say" by the Thad Jones/Pepper Adams Quintet that featured Carter on bass where the melody line is played on flugelhorn (Jones) and baritone sax (Adams). The point here is that in any context, Carter's compositions succeed.
Although Carter's "main axe" is his double bass, there are some contributions on piccolo bass and Fender bass. Drummers Billy Cobham (before he went on to the Mahvisnu Orchestra) and Grady Tate (before he became a crooner) really complement Carter's pieces, with Tate turning in some nice brush work on "Little Waltz." Herbie Hancock's piano work is, as always, thoughtful and understated, letting Carter's bass make most of the musical "statements."
Ron Carter is a musician's musician. Although this album is nearly 35 years old, there is a great deal on this album that will challenge and delight you. If you're a bass player, you will find his playing as fresh and as relevant today as it was then, and you will learn from a master. That's why this album is still in print and worth owning.Uptown Conversation Overview

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