Larry Carlton Albums (25)
'Jazz King: H.M. The King Bhumibol Adulyadej Musical Compositions'
Release Date 3/11/2008
Tracks 11
Label Sony BMG Europe
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'M Live in Tokyo with Special Guest Robben Ford'
Release Date 1/30/2007
Tracks 8
Label Victor Records
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'Live in Tokyo with Special Guest Robben Ford'
Release Date 1/1/2007
Tracks 7
Label 335
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What The Critics Say
The history of jazz includes unlikely but successful collaborations as well as examples of people who should have gotten along but didn't. Miles Davis' economy, restraint and understatement were quite a contrast to John Coltrane's lengthy, stream of consciousness solos, and yet, they made great jazz together. Stan Getz and Chet Baker had a lot in common musically and should have collaborated time and time again; however, they couldn't stand one another. And then there are musicians who know they have a lot of musical common ground and act on that knowledge, which is what guitarist Larry Carlton and singer/guitarist Robben Ford do on this live disc (which was recorded in Tokyo, Japan in September 2006). The fact that Carlton and Ford (who knew each other from Tom Scott's L.A. Express back in the mid-'70s) have a lot of common ground does not mean that their guitar playing is identical; Carlton is essentially a jazzman who has been greatly influenced by rock, soul, funk, and blues, while Ford is essentially a bluesman who has been greatly influenced by jazz, rock, soul, and funk. Neither are purists -- Carlton isn't a jazz purist any more than Ford is a blues purist -- and the fact they have eclectic tastes as well as similar tastes makes them logical allies musically. Live in Tokyo cannot be neatly lumped into any one category; jazz, blues, rock, and funk are all part of the musical equation, and Carlton and Ford clearly enjoy a strong rapport on memorable performances such as Carlton's "Burnable" and Ford's "That Road." Ford doesn't do a lot of singing on this 64-minute CD; in fact, "Talk to Your Daughter" is the only vocal offering on a mostly instrumental disc. Live in Tokyo is a rewarding example of what can happen when two musicians who have much in common musically get together. ~ Alex Henderson, All Music Guide
What The Critics Say
Issued in Japan in 2005, Larry Carlton's Fire Wire was issued stateside in March of 2006. This is a kind of continuation the Sapphire Blue session from 2004. Where the former album used a textured approach to the blues, many of the tunes here are in your face. They are mostly uptempo, funky, and tough, though some of them are moody and dark. And while "blues" are ever present here, they seem to inform Carlton's more rocking style on this offering. What's more, unlike some of his more commercial and fusion oriented projects, this one engages rock directly with a keen lyrical sensibility. Keyboardist Jeff Babko seems to be a key collaborator on these tracks. His big fat synthetic backdrop provides ballast for the rhythm section -- bassist Michael Rhodes and drummer Matt Chamberlain -- and a big enough jump-off point for Carlton to do his considerable stuff both riffing and filling the spaces. "Inkblot 11" roars out of the gate with Carlton stereo riffing alternately with the four-piece horn section that makes it groove. "Double Cross" touches on the blues, but it's funkier, especially when the guitar lines and Babko's Rhodes play in tandem and then Carlton goes for the power chords. "Surrender" is a smoky little blues rocker that sounds like a postmodern tribute to Peter Green. "Naked Truth" references Jimi Hendrix's "Castles Made of Sand" in the opening moments and becomes its own distorted lyric ballad. The big crunch returns in "Big Trouble," courtesy of Carlton's stereo guitar, and Csaba Petocz's in-the-red production. This is one of those tracks where the guitar just screams and screams of simple heavy rock vamps but who cares? It kicks butt. The funk returns on "Dirty Donna's House Party," with horns and keyboards popping all over the mix. Carlton's in the high register doing some serious string bending. The record closes with the abstractly moody jazz-funk number. It's an odd cut, but when it hits its groove, one can see why it was chosen to end the set. Carlton is simply loose, pushing the dials up and Babko supports him in the same way Jan Hammer supported Jeff Beck, filling spaces for the rhythm section to jump on, putting the vamp in the back instead of the front, and accelerating things in the middle so Carlton can just let loose -- and he does. Fire Wire isn't the most imaginative or creatively challenging record Carlton has ever made, but it is loose, reckless, and fun; he must have had a ball making it, but you'd never know it by the cover. ~ Thom Jurek, All Music Guide
What The Critics Say
Larry Carlton may not have been issuing records in the United States with any regularity, but Sapphire Blue proves he hasn't been sitting on his hands, either. It's Carlton's first blues-oriented album in many years. Featuring a large band with a complete horn section, Reese Wynans on B-3, Matt Rollings on Rhodes piano, Terry McMillan on piano, and others, Carlton is in fine, even understated form here. This group plays like a band with a soloist at its center, not like a bunch of paid hacks backing up a guitar whiz. Witness the gorgeous horn charts by Jim Horn on "Friday Night Shuffle," and the triple melody line in "A Pair of Kings." The laid-back, jazzy blues feel of "Night Sweats," with a memorable groove and minimal horn punctuations, leaves Carlton's guitar room to jam inside a warm space. The title track is a B.B. King-style groover -- à la 1970 -- with a stinging, slightly distorted guitar sound from Carlton. This isn't the blues, it is blues, played soulfully and with considerable musicianship that forgoes flash for feeling, albeit muted by pristine production. Carlton's fans may puzzle over this one a bit because of its concentration on aesthetic beauty and relative purity, but those who weren't paying attention should sit up and take notice. [The China import features the bonus track "335."] ~ Thom Jurek, All Music Guide
What The Critics Say
Some of jazz' finest musicians join guitarist Larry Carlton on Deep Into It, his second CD as a leader for the Warner Bros. Jazz label. Carlton wrote six new songs for this offering, and covers such songs as "Put It Where You Want It," written by Joe Sample, and the Stevie Winwood hit "Roll With It." Accompanying musicians are Chris Potter on saxophone and Billy Kilson on drums, both known primarily for their work with the Dave Holland Quintet; Harvey Mason, who holds down the rhythm logic on "I Still Believe"; and smooth jazz phenom Kirk Whalum, who turns in a great solo on the title track, on tenor saxophone. The two tenor saxophonists are highly capable in different approaches, and Carlton makes good use of both Potter and Whalum throughout the program. R&B hitmaker Shai lends his soulful vocals to "I Can't Tell You Why," and truly gives the Eagles' mega-hit a fresh interpretation with his one-of-a-kind artistry. Carlton's updated interpretations are a nice mixture of smooth, pop, and jazz guitar stylings, making for very creative listening on the beautiful "Closer to Home." His mellow tones and picking techniques are but two of the most fetching aspects of this work, as well as his new phrasings and smooth sound. These characteristics -- tone, phrasings, the shape of his underlying musical ideas, and the ability to connect emotionally with the listener -- are a few of the differences between Deep Into It and Carlton's previous effort, Fingerprints, and are all solid reasons for adding this CD to your smooth jazz collection. ~ Paula Edelstein, All Music Guide
What The Critics Say
After a period of recording with Fourplay in the late '90s, Larry Carlton comes back under his own name with a collection that is typically both tantalizing and frustrating. It's tantalizing in that you get flashes and streaks of what this extremely gifted and eloquent guitarist can do when the material is good enough to inspire him. It's frustrating, however, because there isn't enough of it; Carlton can only do so much with the weak-to-middling tunes that take up the majority of the disc. Nevertheless, the title cut is a fine example of the smooth jazz genre at its most ingratiating, with a nice groove and tasty guitar work. "Slave Song" is even better, spangled with intriguing instrumental touches (including the multitracked saxes of Kirk Whalum); some great, funky octave work right in the pocket; and most unusually in the smooth jazz arena, a passionate instrumental chorus on the way to the fade. "Gracias," a Latin-flavored acoustic-guitar duet between Carlton and country music's Vince Gill, may be the album's masterpiece; together, the two create the disc's most beautiful tunes and licks, evoking memories of Chet Atkins' best celebrity duo sessions. Too often, though, the disc settles for the mediocre and the innocuous, the most obvious example being "'Til I Hurt You," an undistinguished tune carefully tooled for airplay, featuring the indecipherably mumbled vocals of Michael McDonald. Yet Fingerprints' best stuff, in addition to Carlton's sterling efforts to make the rest come alive, redeems the package. ~ Richard S. Ginell, All Music Guide
'With a Little Help from My Friends'
Release Date 7/16/1996
Tracks 10
Label Edsel
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