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Bassist Ron Carter stands today as a living Jazz legend. His tenure with Miles Davis established him as one of the masters of the acoustic bass, and thankfully, he is still around making great music. When I listen to this album, I get a feeling that he was not too "cerebral" about it. He just gathered two brilliant musicians, and let the music happen in an easygoing flow among them. For masters like Ron, Kenny and Lewis, great things happen even if they don't break a sweat. From the ligthly swung version of "So What", to Ron's own joyfully simple melodies, this album is just a great example of cohesive and inspired Jazz trio playing. By MusicFreak

Acoustic bass virtuoso Ron Carter plays sophisticated jazz that sizzles with energy, his style well-matched by pianist Kenny Barton and drummer Lewis Nash in this trio setting. The title track is a great treatment of the bebop classic, Carter setting up the theme for Barron to let loose a series of improvisations that builds to double-time. -- Jazz Times

In this felicitous setting Carter’s finest qualities as a bassist--not always apparent in his other albums that emphasize concept and composition--now come though [such as] his solid but ever-driving rhythms and his impeccably accurate pitch. -- The Los Angeles Times

While there are touchstones to his famous past--he played the title track frequently as a member of Miles Davis' '60s quintet--the always innovative Carter pushes forward with a sound as fresh as ever. -- USA Today


Ron Carter's recordings as a leader have varied in shape and style, from his contemporary commercial CTI recordings, his Milestone LP's emphasizing the piccolo bass, more symphonic efforts, and straight-ahead efforts such as this one. With the extraordinary Kenny Barron at the piano and drummer Lewis Nash, Carter plays standards and four of his originals that all fall snugly into the modern mainstream of jazz. It's a relatively laid-back affair, as Barron's potential energy is for the most part subdued, while Nash and Carter lock in on a cooperative mindset.

In lieu of balance, the pianist tenderly wafts through a ballad version of "My Foolish Heart," leads out quaintly on "You'd Be So Nice to Come Home To," and springs along happily during the Randy Weston evergreen "Hi-Fly." There's more of a challenge to Carter's original material, as the cute tune "It's About Time" offers up tricky tandem playing from the bassist and Barron, "The Third Plane" is polite bop as the pianist slightly extrapolates, surrounding Carter's talk-back type melodic inserts, and while the emotional content of the trio darkens on the pensive, anticipatory "Three More Days."

There's a thin veil of swing and blues similar to the standard "Too Close for Comfort" on "Eddie's Theme," while the opener "So What," a song Carter played with Miles Davis and on his own a thousand times, sports his lead bass melody line with a freshness that is reinvented. Truly a team effort, this consistently well-played set should remind us all how brilliant these players are, especially with the cool Count Basie concept of "less is more" in mind. by Michael G. Nastos

1. So What 00:00
2. You'd Be So Nice To Come Home To 06:47
3. It's About Time 11:21
4. My Foolish Heart 16:34
5. Hi-Fly 24:48
6. 3 More Days 30:50
7. Eddie's Theme 38:25
8. The Third Plane 42:19

RON CARTER- bass
KENNY BARRON- piano
LEWIS NASH- drums

Recording Date:January 4, 1998
BLUE NOTE

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