Born: October 14, 1963 Primary Instrument: Piano
Pianist, keyboardist and composer James Carney is an improviser who draws inspiration from many different sources of music, and he has been fortunate to work with a wide variety of great musicians and artists throughout his career. [Ravi Coltrane, Christian McBride, Michael Cain, Darek Oleszkiewicz, Tim Berne, Nels Cline, Todd Sickafoose among many others.]
Carney was born and raised in Syracuse, New York, and in late 2004, he moved from Los Angeles, his home of eighteen years, to New York City.
James Carney has cultivated a reputation for developing an original, polystylistic approach to making music - a philosophy that respects and explores both tradition and the avant-garde. He has recorded five albums as a leader - his last two for the Songlines label. Green-Wood (Songlines 1566) was released in 2007 to wide acclaim, and Ways & Means (Songlines 1580) will be released in July 2009. The septet he leads on both recordings, also known as the James Carney Group, features some of New York’s most creative and in-demand musicians: trumpeter Ralph Alessi, tenor saxophonist Tony Malaby, trombonist Josh Roseman, saxophonist Peter Epstein, bassist Chris Lightcap, and drummer Mark Ferber....
Awards:2009 Chamber Music America/ASCAP "Adventurous Programming" Award; 2008 Chamber Music America/Doris Duke "New Works" Commission Award; 2004 Subito Grant from the American Composers Forum; 2002 L.A. Weekly "Best Jazz Artist" Award; 2000 California Arts Council Fellowship in composition; 1999 Thelonious Monk International Jazz Composers Award
Green-wood is the best new jazz of 2007. - Will Layman, Popmatters.com
Keyboardist and composer James Carney might be described as a friendly iconoclast, an artist who enthusiastically explores new concepts at the cutting edge of jazz...His excellent composing transcends the established musical borders and stares down current definitions of what jazz should be. - Terrell Holmes, All About Jazz / New York, August 2007
AMG Rating for Green-Wood: (4 stars) Each of the horn players has his moments in the spotlight but the complex ensembles, the impressionistic themes, and Carney's versatile work on piano and electric keyboards make Green-Wood particularly special. Thus far, all of James Carney's recordings are high- quality examples of modern creative jazz. - Scott Yanow, All Music Guide
From driving rock riffs, intense Gospel-inflected horn charts and swirling electronic atmospheres to driving second line rhythms, Carney embraces a plethora of styles. Oscillating swirls of texture and color come to the fore on the roiling meditation “Power” and the driving “The Poetry Wall.” The epic pacing of “Shame” borrows the patient phrasing of a hymn, while “Smog Cutter” inserts tricky rhythm changes into a contrapuntal horn line, knitting a mosaic of gorgeous textures and moods. Pointing the way toward the future, Carney’s electro-acoustic ensemble marries resonant melodies to challenging structures, combining the best aspects of today’s creative improvised music into a rewarding whole. -Troy Collins, Cadence Magazine, September 2007
Carney's compositions range far beyond standard jazz fare, drawing from genres as disparate as Indian ragas and New Orleans piano, Brazilian afoxe and Jarrett-esque lyricism. His playing is exquisite, and he gets the most out of the beautiful sound of his piano. - Ernie Rideout, Keyboard Magazine
Ways & Means
Fables from the Aqueduct
Ravi Coltrane / From the Round Box
"Consequence" (by James Carney)
Peter Epstein / Old School (w/ Scott Colley & Peter Erskine)
"Zelzah" (by James Carney)
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Willing to teach:
Teaching music and piano to others is important to me, and I work regularly with a number of keyboard students at my studio in the south Park Slope neighborhood of Brooklyn, New York. The studio is equipped with a German grand piano, a fender rhodes, and other keyboards for playing duets. Lessons may be archived via audio/video for future reference. Although creative jazz improvisation and composition are my focus, I also teach beginning and intermediate levels of classical piano. Students may also study blues, rock, and New Orleans style piano playing, music theory, jazz keyboard theory, ear training, transcription and orchestration. Areas of study for more advanced players may include sound and tone production, rhythmic, harmonic, and melodic development, voice leading, compositional forms, arranging, development of velocity, harmonizing standards and original music, developing a fearless musical aesthetic, open improvisation, expanding the timbral palette, and the art of creative practicing. Since 1991 I have taught as a visiting artist at many fine colleges and universities, including the Eastman School of Music, New York University, Cal State Los Angeles, the University of Nevada at Reno, Ithaca College, Williams College, Saddleback College, California Institute of the Arts and the University of Missouri at St. Louis. I have also taught privately throughout the years, working with students from the ages of 8 to 80. Friends & families may study with me in a group lesson format, and parents are always welcome to attend lessons with their children. Please e-mail me for further information, including rates and available lesson times. My studio is located within easy walking distance to the R, M, F & G subway lines.
James Carney has been a guest lecturer and clinician at The Eastman School of Music, New York University, Cal State Los Angeles, The University of Nevada at Reno, Ithaca College, Williams College, The University of Missouri at St. Louis, California Institute of the Arts, Saddleback College, Mt. St. Mary's College and The School for Improvisational Music in Brooklyn. He has also taught as a substitute teacher at CalArts and NYU. Carney is available as a soloist or with variations of his septet. Please call to discuss clinics, workshops, and concerts. Please note that your institution may also be eligible for grants funding by presenting James Carney as an artist-in-residence. Call or write for details.