Toiling in Obscurity is being played on radio stations all over North America. Besides having great taste, these fine stations are independent of commercial pressure, enabling musicians like me to get their music out to the world. Please support them and their efforts, and PLEASE make a call or send an email requesting a song from Toiling in Obscurity!!
Heavy
KHEN (Salida, CO)
Heavy
KLC (Portland, OR)
(#5 CMJ Jazz), CMJ Jazz Add
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KRCC (Colorado Springs, CO)
#2 CMJ Jazz
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KWVA (Eugene, OR)
Heavy
KXCI (Tuscon, AZ)
#6 CMJ Jazz, tracks 7&4
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KZSC (Santa Cruz, CA)
(#10 CMJ JAZZ)
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RadioIo (Wilkesboro, NC)
Heavy
WBZC (Pemberton, NJ)
#7 CMJ Jazz
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WECS (Willimantic, CT)
Heavy
WFNP (New Paltz, NY)
#10 CMJ Jazz
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WHCJ (Savannah, GA)
Heavy
WHRW (Binghamton, NY)
#1 CMJ Jazz, CMJ Jazz Add
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WICB (Ithaca, NY)
Heavy
WMSR (Auburn, AL)
Heavy
WPKN (Westport, CT)
Heavy
WSOE (Elon, NC)
#4 CMJ Jazz
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WTJU (Charlottesville, VA)
outstanding album, #1 jazz
Heavy
WUPX (Marquette, MI)
#5 CMJ Jazz, CMJ Add
Medium
CHMR (St. Johns, NF)
CMJ Jazz Add
Medium
KBAC (Santa Fe, NM)
Medium
KGLT (Bozeman, MT)
Medium
KMHC (Gresham, OR)
Medium
KMHD (Portland, OR)
Medium
KRFC (Ft. Collins, CO)
Medium
KRFP (Moscow, ID)
CMJ Jazz Add
Medium
KRVS (Lafayette, LA)
Medium
KWCR (Ogden, UT)
CMJ Jazz Add
Medium
KWLC (Decorah, IA)
CMJ Jazz Add
Medium
M3 (New York, NY)
CMJ Jazz Add
Medium
WAER (Syracuse, NY)
Medium
WAIH (Potsdam, NY)
CMJ Jazz Add
Medium
WDPS (Dayton, OH)
Medium
WDPS (Kettering, OH)
blues all over the place. there's not a track to be missed on this cd!
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WECS (Willimantic, CT)
Medium
WFCF (St. Augustine, FL)
Medium
WGAO (Franklin, MA)
Medium
WIDR (Kalamazoo, MI)
Medium
WJFF (Jeffersonville, NY)
Medium
WKPS (University Park, PA)
Medium
WKRL (Syracuse, NY)
Medium
WONY (Oneonta, NY)
Medium
WPKN (Milford, CT)
Medium
WQFS (Stokesdale, NC)
Medium
WUMR (Memphis, TN)
Jazz
Medium
WVRU (Radford, VA)
Medium
WYBF (Havertown, PA)
Light
Bulls Radio (WBUL) (Tampa, FL)
Light
CFRE (Mississauga, ON)
Light
CFUV (Victoria, BC)
Light
CKUW (Winnipeg, MB)
blues
Light
KAFM (Grand Junction, CO)
Light
KALA (Davenport, IA)
Light
KAMP (Tuscon, AZ)
Light
KAUR (Sioux Falls, SD)
Light
KBGA (Missoula, MT)
Light
KDHX (St. Louis, MO)
Light
KDHX (St. Louis, MO)
Light
KDNK (Carbondale, CO)
Light
KDUR (Durango, CO)
Light
KFAI (Minneapolis, MN)
Light
KHNS (Haines, AK)
Light
KHSU (Arcata, CA)
Light
KIDE (Hoopa, CA)
blues
Light
KJAK (Flagstaff, AZ)
Light
KKFI (Kansas City, MO)
Light
KKJZ (Los Angeles, CA)
Light
KMUD (Redway, CA)
Light
KOTO (Telluride, CO)
Light
KPFT (Richmond, TX)
Light
KRCB (Rohnert Park, CA)
Light
KSJD (Mancos, CO)
Light
KSMF (Ashland, OR)
Light
KSUT (Ignacio, CO)
Light
KVMR (Nevada City, CA)
Light
KVNF (Paonia, CO)
Light
KWWC (Columbia, MO)
Light
KZYX (Boonville, CA)
Light
MOJA/VOA (New York, NY)
Light
WBIM (Bridgewater, MA)
Light
WBXO/Party934 (Milford, MA)
Light
WDBX (Carbondale, IL)
Light
WDCE (Richmond, VA)
CMJ Jazz Add
Light
WEGL (Auburn, AL)
Light
WERU (E. Orland, ME)
CMJ Jazz Add
Light
WGDR (Plainfield, VT)
Light
WJSU (Jackson, MS)
Light
WKHS (Centreville, MD)
Light
WLOY (Baltimore, MD)
Light
WMBR (Cambridge, MA)
Light
WMEB (Orono, ME)
Light
WMPG (Portland, ME)
Light
WMPG (Portland, ME)
Light
WMUA (Amherst, MA)
Light
WNTI (Hackettstown, NJ)
Light
WOAS (Ontonagon, MI)
jimmy blows some mean tunes!
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WRHU (Hempstead, NY)
Light
WRUW (Cleveland, OH)
Light
WSCA (Portsmouth, NH)
Light
WTUL (New Orleans, LA)
Light
WUSB (Centereach, NY)
Light
WUSR (Scranton, PA)
Light
WVOF (Myrtle Beach, SC)
Light
WVUD (Newark, DE)
Light
WWUH (West Hartford, CT)
Add
CKUA (Edmonton, AB)
Add
KAOS (Olympia, WA)
Add
KAXE (Grand Rapids, MN)
Add
KBUT (Crested Butte, CO)
Add
KBUT (Crested Butte, CO)
CMJ Jazz Add
Add
KCRW (Santa Monica, CA)
to jazz
Add
KEUL (Girdwood, AK)
CMJ Jazz Add
Add
KPFT (Houston, TX)
Add
KSAU (Nacogdoches, TX)
blues
Add
KTUH (Honolulu, HI)
CMJ Jazz Add
Add
WJFF (Jeffersonville, NY)
Add
WKDU (Philadelphia, PA)
CMJ Jazz Add
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WLFM (Appleton, WI)
with josh
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WORT (Madison, WI)
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WUVT (Blacksburg, VA)
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WYCE (Grand Rapids, MI)
FMQB
Jimmy Carpenter: Press
Jimmy Carpenter, a veteran saxophonist in Walter “Wolfman” Washington’s band, steps out for an impressive debut as a leader with Toiling in Obscurity. Carpenter has all the tools, lacking only a successful front man’s charisma, but his songwriting more than makes up the difference on this very good recording. His band includes John Fohl, Cassandra Faulconer, John Gros and Wayne Maureau with guest horns, singers, percussionists and guitarists including Wolfman and June Yamagishi. Carpenter’s creative arrangements make full use of the colors these players bring to his palette, from the Afro-Caribbean groove of “Screeching Halt” to the funk strut of “Don’t Believe It,” but he doesn’t get lost in the process. He gives himself the final statement, a rousing finale on the sizzling jump blues tenor showpiece, “Upswing.”
The Deal: Growing up in Greensboro, Jimmy Carpenter was a frequent visitor to the Double Door Inn, hitting the road playing sax with the Alkaphonics, Charlie Pastorfield and the Believers, Tinsley Ellis, Jimmy Thackery and the Drivers. Now living in New Orleans, the saxophonist currently divides his time between Walter Wolfman Washington and Eric Lindell.
The Good: With the Afro-Cuban-flavored original "Screeching Halt," Carpenter's first solo record reveals a side of the sideman previously hidden in his supporting roles. Carpenter's covers are just as impressive. Backed by a boiling second line, he challenges Dr. John to a fonk-off on his take on Rebennack's "Back By the River." His smooth treatment of the James Brown classic "Prisoner Of Love" takes it out of Maceo territory and back to its big-band origins. The highlight of the disc is Carpenter's take on the Stones' "Shine A Light." Carpenter takes the tune to church while keeping the dirty back alley vibe alive. His vocals are impressive as well, a serious challenge to Jagger's ragged mumbles with an added bonus – you can understand the lyrics.
The Bad: That it took him half his life to get out his first effort. He's impressive as a sideman, but this side needs more exposure.
The Verdict: Fans of King Curtis will enjoy Carpenter's ballsy tenor swagger, but when the occasion calls for it, he's as smooth as David "Fathead" Newman. This is a great record, and an impressive debut. He'll be at the Double Door again on Feb. 12.
Jimmy Carpenter has been a professional musician for 25 years now, but it was only after relocating to New Orleans in 2004 that he finally sat down and started to make his debut solo album. Having worked on so many projects, he was able to picki some of the fines musicians around for this release, and it’s a very impressive offering. Jumping around between jazz, funk and fusion (fans of Tower of Power will find a lot to enjoy here). He is a fabulous saxophonist, and tracks like “Sinner Street”, which has some fabulous Hammond organ from Papa John Gros, are an absolute delight. As well as self-penned material, he also throws in a few rearranged covers, with a fine version of Dr. John’s “Back By The River” the best of the bunch-although his take on the Stones’ “Shine a Light” comes a close second. A lot of his saxophone tones are reminiscent of David “Fathead” Newman, but he can get rowdy when he needs to. However, Mr. Carpenter has taken this opportunity to sing, as well as blow, and it’s safe to say that he is no great shakes as a vocalist. That aside, this is a brassy and enjoyable recording.
Stuart Hamilton, Blues Matters! Magazine June/July 09, Britain
Jimmy Carpenter - Toiling In Obscurity
Independent JBCCD001
Carpenter is a New Orleans saxophonist and sideman for Walter Wolfman Washington and Eric Lindell among others. His raunchy fat-toned tenor and beefy baritone have been enhancing recordings and live sets for other artists for around 25 years and this album is his first solo release. Backed by some fine Crescent City session players he kicks off with a salsa-styled original "Screeching Halt" concerning the protagonist’s clumsy attempts to rescue his doomed relationship: "I said I’d change to keep the peace // Remembering our two-year lease // But if you go can I keep the LCD?" The sleazy menace of instrumental "Sinner Street" follows, then "Common Man", railing against the contempt with which the haves treat the have-nots.
The other original songs, "On the Skids" and "Don’t Believe It", have self-explanatory titles and a lively jazzy 12-bar instrumental called "Upswing" completes the self-penned numbers. The Rolling Stones’ "Shine a Light" is given a tasteful revival without bringing much new to the song. The romantic jazz standard "Prisoner of Love" becomes a mellow baritone sax feature with Walter Washington contributing half a chorus of guitar. "Back By the River" has some infectious 2nd line brass band blowing demonstrating Carpenter’s skill as an arranger, especially of horns. Generally, the instrumentals work better than the songs because, as a lead vocalist, Carpenter’s a great saxophonist. The songwriting shows some real promise, though, and I hope we won’t have to wait another 25 years for a follow-up!
Rating: 7 - Kit Packham
www.myspace.com/jconsax & www.jimmycarpenter.net
All the best,
Kit.
Rowe: Sax man dedicates CD to slain partnerThursday, February 26 ( updated 5:29 am) By Jeri Rowe Staff Columnist Jimmy Carpenter was sitting at his desk at his new house in New Orleans when he got the call. Billy Ransom Hobbs. Dead. Carpenter couldn't believe it. He called many of his old musician friends in Greensboro, his hometown, to see if it was really true. It was. His friend, his mentor, his old musical partner from Tate Street. Gone. Even today, five months after Hobbs' death, it's still tough for Carpenter to comprehend. It's the way Hobbs died that shocks Carpenter. Maybe you remember. Local nighthounds sure do. It was a Saturday morning, Sept. 13. Hobbs was staying with a female friend, who was grappling with the heartache of a deteriorating relationship. There, in her Summit Avenue apartment, they were beaten and left for dead. His friend barely survived. Hobbs, 58, didn't. His body was found in the ashes of a fire that destroyed a first-floor apartment inside Greensboro's stone-and-turret house known as "The Castle.'' There have been no arrests. Carpenter, a talented sax man, discovered his muse in Greensboro. He picked up the saxophone as a fifth-grader, played in the school bands at Kiser Middle and Grimsley High and went on to UNCG before the road lured him away. Hobbs was one of Carpenter's teachers. And Carpenter felt helpless when he heard about his death. But not for long. Carpenter had been working on his first solo release for nearly a year. He had brought in many of his musician friends from New Orleans and recorded nine tunes, steeped in the rhythms of Latin groove and brassy Louisiana soul. He decided to name his CD for one of his favorite phrases: "I've been toiling in obscurity." It's something he often tells folks when they asked about his career before he joined Jimmy Thackery, an accomplished guitarist on America's blues scene. Before touring with Thackery, bluesman Tinsley Ellis and New Orleans legend Walter "Wolfman'' Washington, Carpenter anchored the stage from Vermont to Key West with Greensboro's The Alka-Phonics. And before The Alka-Phonics, Carpenter hung close with Hobbs. They met along Tate Street in the late 1970s. Carpenter was in his early 20s when Hobbs, a few years older than Carpenter, took the young musician under his wing. Hobbs taught Carpenter some nightlife lessons. Like eat something before you swim in alcohol. But he also taught Carpenter some life lessons about the beauty you can find in your music and your neighbor. They played together, along Tate Street, in the Little Alfred Band. So, when Carpenter was finishing the first solo release of his quarter-century career, he knew what to do. It's sixteen words. You find it just inside the jacket of "Toiling In Obscurity,'' which he released last month. Dedicated to the memory of Billy Ransom Hobbs, a true friend to me and countless others. "I was really hurt by it,'' says Carpenter, 49, from New Orleans, his city since February 2004. "It was a long time ago when I was hanging on Tate Street. But I don't think everybody back then appreciated the level of creativity and the vibe going on there. "There were some amazing musicians and artists and just characters hanging down there,'' he says. "And it was a major part of what made me who I am now. And Billy was a big part of that.'' Contact Jeri Rowe at 373-7374 or jeri.rowe@news-record.com
Grant Britt has put Toiling in Obscurity in his top 10 for 2009!! See his list here:
http://charlotte.creativeloafing.com/gyrobase/the_year_in_review_music/Content?oid=805537. Grant wrote a great review of the cd when it was released, which is in my press section.
DJ and musicologist Tom Morgan of New Orleans' WWOZ has chose Toiling in Obscurity as one of his top 11 New Orleans CD's for 2009!
Toiling in Obscurity is Number 9 on the Relix/Jamband.com radio chart!
On a cold night that promised more snow for the blizzard weary Washington DC area, a pair of bands took the stage at Jammin' Java in Vienna, VA and provided warm food for the musical soul. The Jamie McLean Band opened for Eric Lindell, a couple of veteran song writers and guitarists that put on a nice showcase of skillful songwriting.
Jammin' Java is a small dark club with a dimly lit stage that creates a theatrical atmosphere, leaving little distraction from the music. A well built stage housed a very good PA system, allowing you to easily hear the subtleties of what the bands were doing. Jamie McLean took the stage first, he writes that slow, grindy kind of R&B that shows off the influence of his time spent in New Orleans as the pioneering guitarist with the Dirty Dozen Brass Band. His songs had simple, clean lines and melodies, that showed off the song, rather than heavy playing, until the solo sections, where McLean could really begin to stretch out. Accompanying McLean was drummer Brian Griffin and bassist Ben Mars. Both musicians did a good job with background vocals and harmony behind the solid lead vocals of McLean. I was impressed at how Ben Mars showed restraint in his bass lines, especially for a young player, helping to pare down the songs to just their essentials. Ben told me he graduated from the New School, in New York City, last May, giving his senior recital one day, and going out on tour with the Jamie McLean Band the next.
The set of music performed by the Jamie McLean Band was made up largely from their latest album, American Heartache, with some other numbers from their upcoming album Completely, and a really nice cover of the Beatles' She Said. All in all I was left impressed by the room filling sound of this trio and would not pass up a chance to see them again.
The back end of the night featured the headliner, Eric Lindell. Eric has an intangible quality, that "It" factor in his voice and guitar playing that cultivates a dedicated following. About to release his fourth album, Between Motion and Rest, Lindell brought an all-star band with him to deliver his newest material alongside neatly revamped versions of his older stuff. Jimmy Carpenter was on saxophone, the very widely recorded Jon Carroll on keyboards, Chris Arenas on bass, and Eddie Christmas on drums. These musicians have been pros for a long time and represent the kind of mature playing that only years of work can produce. Eddie Christmas played a two piece kit, snare and kick drum only, with a high hat, ride cymbal and a crash cymbal. Yet his amazing syncopation drove the band rhythmically, laying down a traditional New Orleans funky foundation for everyone else to build on. Jimmy Carpenter was simply stunning on saxophone. Like Eric himself, Carpenter relies on melodic statements in his playing, sprinkled with blistering runs and powerful climaxes to his solos. Jimmy is also very adept at playing sympathetic lines behind Lindell's vocals or guitar solos, creating a musical conversation that lasted all night.
Eric Lindell has a sweet voice, with just enough gravel in it. He sold what he was singing hard to a group of fans very familiar to the material. His songs encompassed a great mix of blues, rhythm and blues, funk and Americana. Eric's vocals and guitar solos were all very melodic and rhythmic, telling stories through the music as well as the lyrics. Jon and Jimmy lent terrific harmonies to support Eric's voice and the night meandered on with an array of danceable songs, riddled with big hooks at every turn. Eric would occasionally stop and bring the audience into the show by asking for, and playing their requests.
For me, the night was a very satisfying mix of savvy song writing and first rate musicianship. I would recommend you catch both these acts whenever you can.
Check out more of Bob Adamek's photos from the show here.