Hi folks, I'm happy to announce that as of today, Duocracy, my new album with pianist Ben Stolorow on Kabocha Records, is available for purchase (and should be on a radio station near you)!Physical CDs can be picked up at CDBaby, and digital downloads are available at CDBaby (in high-quality mp3 and FLAC formats), Amazon, Google Play, iTunes, and eMusic. (The album is not available on Spotify, since we're not interested in being digital sharecroppers and getting $.000001 per play.)Please pick up a copy or ten! And if you enjoy it, please consider adding a review--they really do help!Coming soon: Video from our really enjoyable CD release show at the Jazzschool last week! And don't forget our North Bay CD release show is March 7 in Tiburon.

Happy New Year! (You can thank me later for not saying "jazzy.") Lots going on, so here goes:Here Comes Duocracy!Duocracy, my soon-to-be-released duo album with my good friend pianist Ben Stolorow, is being pressed as we speak! (You can read a lot more about the album here: Ian Carey, Ben Stolorow, and Duocracy.) Ben and I are currently gearing up for our two CD release shows:

• East Bay: Friday, February 21 at The Jazzschool in Berkeley
• North Bay: Friday, March 7 at Old St. Hilary's in Tiburon

If you're not going to be able to make either of those, we're also playing a private preview show in Richmond on the afternoon of January 20 (MLK Day)--email me (ian [AT] iancareyjazz.com) if you're interested in attending.Winter CircusLater this month, I'm happy to be involved in a rare off-season performance with the great Circus Bella, featuring outstanding original music by accordionist/keyboardist/guitarist/composer/"Nice Guy" Rob Reich, with the Circus Bella All-Star Band (with Rob, Greg Stephens on trombone, Ralph Carney on a potpurri of woodwinds & sundries, Michael Pinkham on drums, & me on trumpet). We'll be doing two shows on Saturday, January 26 at the Jewish Community Center in San Francisco. Last chance to see us before summertime!New to Me: Arranger EditionYou may remember I have a periodic series of posts about standout albums which, while not necessarily new to the world, are new to me. As I'm about to get to work on a new, extended composition for my Quintet+1 (funded by a generous grant from the San Francisco Friends of Chamber Music's Musical Grant Program—you should apply too!), which will be premiered this fall, I've been spending a lot of time seeking out new-to-me recordings by great arrangers and composers in order to help get my creative wheels turning. Here are a few:Clare Fischer Orchestra: Extension (1963) Ever run into one of those records where you know almost immediately it's going to be one of your all-time favorites? This one, which I picked up at a record store in San Rafael (along with some other finds including albums by Martial Solal & Don Cherry) was one of those records. Fischer, a burning pianist, has been featured in "New to Me" before, but this was my first time checking out his larger ensemble work. I remember Mike Mossman talking up Fischer's charts in an arranging class, and I can see why--tons of counterpoint, dense but beautiful harmonic language--all delivered without the use of trumpets, which serves the dual purpose of letting his phenomenal woodwind writing shine (lots of flute/clarinet lead) while keeping it away from that stereotypical "big band" sound that is so hard to avoid (no matter how hip the writing). Plus it swings, with some nice blowing by Fischer and the Warne-esque Jerry Coker. It's even got a Passacaglia, which is one of my favorite musical forms! Highly recommended. (P.S. Marc Myers did a great write-up about this album when it was reissued--check it out.) Buy here.Nathan Clevenger: Observatory (2013) Nathan & I run in a lot of the same circles (this album features my longtime collabo-friends Kasey Knudsen, Jon Arkin & Evan Francis, for example) and the frequency at which he can find opportunities to perform music like this with a band this size is nothing short of amazing. (With any luck we may have a double-bill in the future.) A great balance of inspiring blowing & thorny writing, tunes with surprising arcs (see "Sleepwalker's Anecdote"), and more bass clarinet than you can shake a stick at. I don't think it's too presumptuous to say I think Charles Mingus would like this record. Buy here. Speaking of Mingus:Charles Mingus: Mingus Moves (1973) This is one I somehow never got around to hearing until recently. Not everything here is my cup of tea (the singers and trumpet player, for example) but "Canon" is classic, and Sy Johnson's chart on "Wee" makes the trip worthwhile. Plus prime George Adams & Don Pullen, and of course the great Dannie Richmond & the man himself. Buy here.Michael McGinnis+9: Road*Trip (2013) I played with Mike a few times when I lived in NYC and we had a lot of friends in common. This album features a great new recording of Bill Smith's Third-Stream masterpiece Concerto for Clarinet & Jazz Combo--which is worth the price of admission by itself--but definitely stick around for McGinnis's extremely interesting title suite, which brings the Third Stream vibe into the present. The first movement is a personal favorite. Buy here.Andy Clausen: The Wishbone Suite (2012) Man, has this guy got compositional chops to burn. In addition to having no problem "putting the notes on the paper," Clausen brings an impressive amount of variety, with pieces ranging from hypercomposed and intricate to sections of open freeish blowing (I think)--I especially love the frequent lack of obvious lines where the improvisation begins and ends, which loosens up some very in-depth writing (something I've been working on in my own music). The interesting instrumentation (trombone, clarinet, piano, accordion, percussion) adds an extra layer of cohesion. Buy here.

Hi folks, it's been a while, so here's some recent news: I've been very happy to see Roads & Codes getting some love in year-end lists, including a mention in Downbeat's Best of 2013 Issue (alongside some heavy hitters!--although I wish they'd highlighted my album cover instead of that cornball Chick Corea-in-shining-armor painting).Meanwhile, Andrew Gilbert of NPR's California Report named Roads & Codes on his list The Golden State of Jazz: The Best California Jazz CDs of 2013, and included some of my artwork.The album also got a really nice mention in James Hale's Best Jazz Recordings of 2013 list (Hale also reviewed the CD for Downbeat, so I'm very glad it ended up in front of him!):

Bay Area trumpeter Ian Carey was the discovery of the year for me. On the inventively conceived Roads and Codes, he made great use of his highly skilled band of improvisers by writing to their strengths—a lesson gleaned from his mentor Maria Schneider. The program—an arty mix of pieces by Neil Young, Igor Stravinsky, Charles Ives and his own harmonically pleasing compositions—covers a lot of ground, and does it all well.

Ken Frankling included "The Thread," one of my tunes from the record, on his list of "the 10 best new songs from CDs released in 2013" on his blog Jazz Notes.R&C also made the Top 50 list of Scott Albin of Jazztimes, and the honorable mention list for Ted Gioia's 100 Best Albums of 2013 (any genre!).I'm especially glad to see the record showing up in these lists since it came out in February, so if people still remember it, it must have made quite an impression. I give much credit to the awesome musicians--Fred Randolph, Kasey Knudsen, Adam Shulman, Evan Francis, & Jon Arkin--who made that music with me.But no resting on laurels, because I'm happy to announce that my new album, Duocracy, will be released in February. The album is an intimate duo session with my amigo the great pianist Ben Stolorow, featuring a selection of some of our favorite classic American Popular Songbook chestnuts, from the well-known ("All the Things...," "Cherokee") to the rare ("Two for the Road," "Little White Lies"). We have two CD release performances scheduled so far: the first in the East Bay, at The Jazzschool in Berkeley on February 21; the second in the North Bay, at Old St. Hilary's in Tiburon on March 7. The CD will hit the airwaves on February 25. Stay tuned!Finally, from my other other career, a little thing I wrote with Darci Ratliff is up at the great literary & humor site McSweeney's today: Things Not to Bring to a Gunfight.Coming soon: part two of my rambling Blues, Authenticity, and the Hopefully Not-So-Abstract Truth. Happy Holidays!

Hi folks, long time no etc. It's been a busy musical summer so far for me, with shows by Takoyaki 3 (at Yoshi's Lounge), Circus Bella (all over the bay), and even my shortest gig ever: a 3-minute obligatto for a groom-to-bride dedication of "All the Things You Are."Gig news: This Friday (7/19), Takoyaki 3 (Adam Shulman on organ, Jon Arkin on drums, & myself on trumpet) will be playing at Rose Pistola in North Beach from 9-11:30p. No cover! Then Sunday (7/21) at noon, Circus Bella (you can hear some live audio of the great original soundtrack here) comes to Oakland's Dimond Park. Also free!Also, I'm pleased to announce the next appearance for my Quintet+1, which will be Friday, September 13 at a secret venue in the East Bay. If you're on my email list, you'll get all the info beforehand; if not, why not sign up? (It's easy-on, easy-off, I swear.)New Review: Roads & Codes has been out for a while, but some nice reviews are still trickling in--this week the multi-talented instrumentalist and educator Michael Smolens named the album his "Must Have CD Pick" of the month, with this very kind and thoughtful review:

Ian Carey is a direct artist. Honest, informed, inventive. The pieces never scream “Look at me!”, but rather, “Come with me.” Unlike many jazz recordings, the length of each piece feels beautifully and organically proportioned, whether they are nearly 12 minutes or just over two – they never plead for airplay with artificial brevity, or feel indulgent with endless solos. Carey incorporates many influences, from the lush worlds of Kenny Wheeler and Maria Schneider, the kickin' sounds of Joe Henderson and John Coltrane, to adaptations of classical 20th-century composers Igor Stravinsky and Charles Ives, to a Neil Young film score. Yet his sound and compositional approach is always very personal. This sextet of three horns and piano/bass/drums actually feels more like a seven or eight piece band because of how much motion he puts into the horn writing, each horn sharing in the melodic and accompanying roles. Carey's group has at once a very unified sound (remarkably, recorded in just one day), yet each member has a distinct voice as a soloist, always commenting on the piece at hand. Most affecting, though, is his visual art for the project. Carey directs his masterful illustrations to address the concerns that face most jazz artists in this country receive, from bewildering comments by critics, to the public's lack of understanding of jazz, to the select jazz audience's need for reassuring tribute albums. And he does so without the slightest hint of resentment. In fact, it is his child-like honesty in these artistic liner notes that is most breathtaking. (His comments on each of his tunes are informative, as well). Without a doubt, this is an artist you need to hear.

New Album News: In a few weeks, the great pianist Ben Stolorow and I will be mixing the duo project we recorded last month in Oakland. The as-yet-untitled album features 12 intimate tunes from the familiar to the rarely-heard, and we're hoping to release it this fall. Stay tuned!

Hi folks, I have a bunch of interesting stuff to throw at you at once. First, I'm doing two shows next week with two different bands, both guaranteed to be interesting!Next Thursday, May 30, Takoyaki 3 (the streamlined, street-food-style version of my Quintet+1) will be returning to the lounge at Yoshi's in San Francisco as part of their Local Talent Series.  We'll be doing underplayed jazz classics, originals, and even a standard or two!WHAT: Ian Carey's Takoyaki 3WHO: Ian Carey, trumpet; Adam Shulman, organ; Jon Arkin, drumsWHEN: Thursday, May 30, 6:30-9:30pmWHERE: Yoshi's Lounge, San FranciscoHOW MUCH: Free!A few days later, the Quintet+1 will be making its first appearance since our CD release show, at the intimate San Francisco house concert venue Chez Hanny.  We'll be performing music from Roads & Codes ("★★★★½ - a highly skilled band of improvisers, harmonically pleasing compositions... it all works" --Downbeat), including compositions by me, Stravinsky, Charles Ives, and Neil Young, as well as new arrangements of music from previous albums and the premiere of a brand new original piece. This will also be the debut with the band of the great Bay Area woodwind wizard Sheldon Brown. Seating is limited, so best reserve early!WHAT: Ian Carey Quintet+1WHO: Ian Carey, trumpet; Adam Shulman, piano; Jon Arkin, drums; Kasey Knudsen, alto saxophone; Sheldon Brown, tenor saxophone & flute; Fred Randolph, bassWHEN: Sunday, June 2, 4pmWHERE: Chez Hanny, San FranciscoHOW MUCH: $20 suggested donation (see link above for ticketing/reservation info)In other news, reviews for Roads & Codes are still trickling in, including this very poetic one from Jazz Weekly:

Ian Carey leads a small band in which he plays trumpet, flugelhorn and handles most of the writing with a lithe as cirrus cloud team ... The melding of the three horns, especially when Francis is on the flute, create a lovely graciousness  of sound that feels like a breeze teasing linen drapes, as on the mellifluous “Wheels.” A pastel haze floats above the plain on “Rain Tune” while Neil Young’s “Dead Man’ features Carey’s lonely and gasping trumpet.  Some firm and forte bop is displayed on the driving “Count Up” which has some pungent stick work by Arking, while Charles Ives’ “West London” is delivered with a porcelain fragility. Nice and fresh music here that sparkles like morning dew on citrus trees.

Mellifluous indeed! It has been very interesting to see the wide varieties of effects the record has had on people.Finally, I'm happy to announce that the great local organization San Francisco Friends of Chamber Music has chosen me as one of the fortunate beneficiaries of their 2013 Musical Grant Program. I'll be writing a new multi-part "Suite for Quintet+1," to be premiered at the Jazzschool in Berkeley in fall 2014. Time to get crackin'!

Hi folks, big musical week starting tomorrow:TAKOYAKI 3, the streamlined, street-food-style version of my Quintet+1, is playing twice in the next week--on Saturday night (3/23) in North Beach at Rose Pistola, and next Wednesday (3/27) at Yoshi's Lounge in San Francisco. The group features Adam Shulman on organ, Jon Arkin on drums, and myself on trumpet & flugelhorn, and we'll be playing original music from Roads & Codes, as well as select standards and underappreciated classics by jazz composers like Herbie Nichols, Ornette Coleman, and Lennie Tristano.WHAT: Ian Carey's Takoyaki 3WHERE: Rose Pistola, 532 Columbus Ave., San FranciscoWHEN: Saturday, March 23, 9-11:30pmHOW MUCH: No cover!ANDWHAT: Yoshi's Local Talent Series presents Ian Carey's Takoyaki 3WHERE: Yoshi's Lounge, 1330 Fillmore., San FranciscoWHEN: Wednesday, March 27, 6:30-9:30pmHOW MUCH: Also no cover!I've also got two other gigs this weekend for those of you of the East Bay persuasion: Saturday (3/23) daytime, I'll be playing with the Betty Shaw Quartet at the Cheese Board in Berkeley from 11:45am-2:45pm, and Sunday evening I'll be playing with the Full Count Trio (Ollie Dudek, myself, and Jeffrey Burr) at Cato's Ale House in Oakland from 5:30-8:30pm.Next, there have been more reviews for Roads & Codes trickling in, including a very nice one from The Pittsburgh Tribune Review:

Carey is almost as good a cartoonist as he is a musician. The horn man created a comic-book-like cover for his “Roads & Codes” that talks about the difficulty of selling jazz these days. Inside, cartoon depictions of the players in the band decorate his liner notes, set in the same typeface as the word balloons on the cover. While all this cover material is impressive, the music — happy to say — is even better. The tunes are catchy and played by a sextet that, at times, sounds bigger, offering backup statements and horn harmonies that create a rich sound.

... plus a review from Ken Frankling's Jazz Notes ("a marvel for its lush and intricate music and musical concepts, as well as Carey-designed packaging and illustrations that make it a clear favorite to win the year’s cleverest design"), another mention from James Hale, who wrote my DownBeat review ("one of the freshest albums I've heard in a long time"), a spin for "Count Up" and what according to Google Translate is a nice review from Radio France's Alex Dutihl ("Parution de «Roads & Codes» du trompettiste Ian Carey chez Kabocha, dont la pochette est illustrée par une bande dessinée qu'il a lui-même créée. Encouragé par Dave Douglas en ce qui concerne la musique, il poursuit parallèlement une carrière d'illustrateur"--couldn't have said it better myself!), and from one of my favorite jazz blogs, the great Doug Ramsey's Rifftides (the post title--"Recent Listening: Carey, Mingus, Ellington"--poses a serious threat of causing my brain to explode):

Carey writes lines that flow on astringent harmonies. His trumpet and flugelhorn keep the listener’s attention not through volume, velocity and extended sorties into the stratosphere, but with story telling and a burnished tone. Kasey Knudsen, the +1 of the band’s new name, spells Evan Francis on alto saxophone, leaving Francis to concentrate on tenor sax and flute. With the audacity of her conception and sound, Knudsen is a stimulant. The series of blues choruses and phrases that she and Francis exchange on “Nemuri Kyoshirō” is an album high point. The three-horn front line expands Carey’s arranging palette beyond that of his 2010 CD Contextualizin’, allowing richer ensembles and deeper voicings in figures behind soloists. Pianist Adam Shulman, bassist Fred Randolph and drummer Jon Arkin constitute one of the San Francisco Bay Area’s finest rhythm sections. Carey acknowledges that nearly half of his compositions are under the influence of his heroes Charles Ives (“West London”), Igor Stravinksy (“Andante”), John Coltrane (“Count Up”) and Neil Young (“Dead Man [Theme]”). The influences are points of departure for the individualism of Carey’s writing.

Finally, here's some new video from our show at the Sound Room last month--this is the aforementioned "Nemuri Kyoshiro," featuring a live rematch of that epic saxophone battle: