Ron Carter - Anything Goes (LP)
- LP
- 1 piece(s)
- 2021
- 6 tracks
- 33 min
- jazz
Anything Goes
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2.3
Average of 9 reviews
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Alright, I saw the amazing list of guest musicians playing with the iconic bassist Ron Carter on this 1975 album and didn't think twice about buying it. HUGE REGRETβ¦.this record is AWFUL, a pathetic try to hit the disco charts. It's just plain bad, and I do enjoy disco music sometimes, but this is simply dreadful. I'm stunned because the classic 'Mister Magic' by Grover Washington Jr also came out the same year on Kudu/CTI records. Smh
Ron Carter surprisingly takes a disco turn on this one. I'm a big fan of Ron, but the elevator-music vibe of the main track and the outdated arrangements and production throughout don't really highlight the band's skills (and there's plenty of talent here). It's like listening to the SNL band covering tunes from The Love Boat.
For some reason, Ron Carter dips into disco on this one. I'm a big fan of Ron, but the elevator-music take on the main track and the super outdated arrangements and production throughout really don't do the band's skills justice (and trust me, everyone here is incredibly talented). It's like hearing the SNL band covering tunes from The Love Boat.
For some strange reason, Ron Carter dives into disco on this one. I'm a big fan of Ron, but the elevator-music take on the main song and the super outdated arrangements and production throughout don't really highlight the band's skills (and let's be real, everyone here is incredibly talented). It kind of reminds me of the SNL band covering tunes from The Love Boat.
Ron Carter's "contractual obligation" record, a stark departure from the jazz we're accustomed to from one of the genre's most adaptable bassists... and not for the better. It feels like Creed Taylor and his team told the musicians, "Hey fellas, Rudy Van Gelder's swamped right now, so he's only got an hour for you to dash into the studio and just lay down whatever pops into your minds. NO! I didn't mean Ornette Coleman stuff, I meant... something the crowd will dig... polished and sophisticated. Simple as that. I'm sure you can knock something out quick. Anything goes. How does that sound?"And that, folks, is precisely how this album (and its title) came to be. Alright... maybe that's a tad dramatic to say that's what was coming out of Creed Taylor's mouth during the recording sessions, but it pretty much captures what you get here: a fake blend of watered-down disco-funk with Stan Getz-style bossa nova beats in the most laughably cheesy way imaginable. I can't wrap my head around what kind of mind-altering substances everyone involved was on when this was recorded.While Anything Goes isn't terrible by any means, it's way too tacky and gimmicky for a musician of Carter's caliber, and a far cry from essential listening - while lively and skillfully performed the tracks are uniformly dull and don't distinguish themselves from one another (well....maybe except "Barreta's Theme").And as much as some might recoil at the thought of "The Girl from Ipanema", even the relative mildness of Stan Getz' 60's bossa nova albums is more thrilling than this knockoff - which is little more than a weak copy.So, what is it but a mere oddity, a history lesson in the things that can go awry when Creed Taylor wants his artists to rush-release some half-baked stuff as quickly as possible with little care for true jazz enthusiasts?Bottom line: grab a copy of Pastels and don't look back.Oh, and about the cover art... don't stare at it. Paul McCartney's looking away from us on the Sgt. Pepper artwork NOT because he's 'dead', but because as musically talented as he is, he can't bear to listen to Ron Carter.Then again, Quincy Jones can't stand to listen to the Beatles either, so who cares. The whole music world is topsy-turvy... and if you look at the cover of McCartney's Tug of War, then soon you will realize it looks like he can't listen to anything else! That's what I see in his facial expression.BUT: next... coming up - Black Eyed Blues, a *beautiful album* by Esther Philips. Recorded and produced by the same crew at CTI/Kudu, no less.
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