MP3 Bill Carrothers - After Hours

Jazz trio ballads, harmonically extended. All slow, all the time. Think Shirley Horn without the vocals.

12 MP3 Songs in this album (62:01) !
Related styles: JAZZ: Piano Jazz, JAZZ: Chamber Jazz



Details:
Bill Carrothers - piano
Billy Peterson - bass
Kenny Horst - drums

Recorded at Creation Audio, Minneapolis, MN 1997

"Jazz that gives you the shivers again. This guy is a phenomenon, a poet of the keyboard, with alot of inspiration and a master in the art of the trio. He plays with grace and goes around the cliches of music and comes out with an implicit chord of pure expression. Bill Carrothers jumps from anywhere, full of stylish maturity, and the least we can say is he surprises you, he seduces you, he brings you up and you canât resist it. You have to listen to this miraculous CD, After Hours."
- Les Inrockuptibles -

"Beware, this young man has a lot of surprising talent. [On After Hours] there is a remarkable touch of the keyboard, a majestic emotion, a sound of a rare beauty and the whole thing is complemented by two accompanists of a beautiful efficiancy and devotion, Billy Peterson on bass and Kenny Horst on the drums. A CD who, for my part, I kept on playing many times because the music is sensuous and intoxicating. It has been a long time since I felt so much emotion. You may have to run to buy this CD. The demonstration of the ballad treated in this way will remain eternal."
- Jazz Notes (France) -

"After Hours is romantic and warm and full of familiar themes...Carrothers reinvents classic ballads, coming up with unprecedented versions of Young and Foolish, My Heart Belongs To Daddy, and a snail-paced Green Dolphin Street. Bassist Peterson sounds like the immortal Charles Mingus during a remarkable take of Chelsea Bridge...After Hours offers some of the best mood music imaginable."
- Tom Surowicz, Star Tribune -

"[On After Hours] Carrothers displays command, original harmonic ideas, musicianship, and his enviable keyboard touch."
- Lee Lowenfish, NYC -

"[On After Hours]...The tempos are sometimes painfully slow. On sad songs of lost love, like "In the Wee Small Hours", "It's So Easy To Remember", and "Young and Foolish", the dirge-like tempos and wistful meanderings of the melody seem intensely melancholic, even suicidal. Indeed, the overwhelming despair of "Chelsea Bridge" is enough to precipitate a leap into the nearest river. Perhaps that's what makes Carrothers' playing so enthralling - his interpretations reveal the immense sadness at life's core."
- Tom Ineck, Berman Music Foundation -