In July, a wonderful example of the power of limitation could be heard at the Rotterdam North Sea Jazz Festival. After the announcement that drummer Payton Crossley of Ron Carter’s Foursight Quartet would be absent due to Covid, an audible wave of disappointment buzzed through the packed Madeira hall. Bassist Ron Carter (1937) did receive a well-deserved warm applause, but it remained unsettled for a while, some even walked out.
Jazz musicians don’t give up easily, though. The band, reduced to a trio, started a set that lasted 75 minutes and gradually the audience sensed how sparkling pianist Renee Rosnes, saxophonist Jimmy Greene and bassist Carter sounded together. Their individual talents were shown off even better and during the second tune you could hear a pin drop in the Madeira. The standard ‘You Are My Sunshine’ subtly blended with J.S. Bach’s First Cello Suite, bowed by Carter. Afterwards you could only conclude that something special had taken place here.
Ron Carter, who grew up in Ferndale in the Chicago area, has broken all records when it comes to the number of recordings he has made. He has not only played on jazz albums, but pop, hip-hop and spoken word artists have also discovered him. And to think that Carter once started out as a classical cellist. As a young black man, he realized that he would never be asked to play in a major orchestra. So he switched to the double bass and to jazz. From that moment on, he has never been out of work.
Carter became known to the general public when trumpeter Miles Davis asked him to join his groundbreaking second quintet (1963-1968). In this group filled with creative minds, Carter played a seemingly modest but fundamental role. With his solid deep tones he propelled pianist Herbie Hancock, saxophonist Wayne Shorter and bandleader Davis to heights never before reached in jazz. Miles Davis also entrusted Carter with the business aspects of musicianship: the bassist managed the treasury, negotiated with venue owners and saw to it that record royalties were fairly distributed.
Ron Carter’s secret as a bassist is his subservient contribution that lets others shine. As a side musician, he knows how to break through the deadlocks of his colleagues. As soon as Carter senses that a soloist is about to get stuck, he plays a well-placed low note that helps his fellow musician back on track. Without Ron Carter, the more than 2,300 recordings he has worked on would certainly have sounded differently.
Carter’s reliability is expressed not only musically. Unlike many of his musical contemporaries, he did not indulge in drink and drugs. He makes sure he is on time for recording sessions or performances and appears always impeccably dressed on stage. ‘You don’t play better in a costume, but people think you do,’ Carter used to say to fellow musicians who present themselves too casually.
Thanks to his 62 years of service, Carter has largely determined the sound of the double bass. In Miles Davis’ quintet, that experimented with jazz rock, he occasionally played an electric bass guitar, but that was not his cup of tea. Now and then Carter uses a cello or a piccolo bass that was made especially for him.
It is hard to find a bassist who has not been influenced by the maestro. Carter’s elegant playing, his inventive bass lines and his unobtrusive presence make him a much-loved accompanist. Pianist Herbie Hancock (1940), the other active veteran, describes making music with Ron Carter as having two gentle arms around him. ‘That is not to say that he always chose the safe route’, the pianist adds: ‘Carter may have been the anchor of our band, he sent us straight into the storm.’
In his long career, Carter has played with a wide variety of musicians. With former Miles Davis band members he formed the group V.S.O.P. He has accompanied Chick Corea, Horace Silver, Eric Dolphy, James Brown, Billie Joel, Paul Simon and many more. When hip-hop collective A Tribe Called Quest invited him for a joint session, Carter asked his son who they were and then agreed. ‘It’s my job to make the music do something that nobody else thought of,’ says the 85-year-old American bassist, who continues to search for the perfect note.
A selection of the many albums by and with Ron Carter:
Skyline – Ron Carter, Jack DeJohnette, and Gonzalo Rubalcaba (5Passion Records, 2021)
This Grammy Award-winning album proves that Ron Carter still delivers top quality.
Seven Steps To Heaven – Miles Davis Quintet (Sony Jazz, 1963)
Miles Davis knew exactly who he needed to help him to create new music. The second great quintet combined freedom, innovation and discipline.
Soul 69 – Aretha Franklin (Atlantic Records, 1969)
Aretha Franklin felt at home in any style. On this album she sang mainly jazz and blues. Ron Carter regarded this one of his favorite records.
Pieces Of A Man – Gil Scott-Heron (Flying Dutchman Records, 1971)
Poet and musician Gill Scott-Heron impressed as a spoken word artist with his fight for civil rights. Thanks to Ron Carter’s input, the music came out just as well as the lyrics.
The State Of The Tenor – Joe Henderson (Blue Note, 1986)
Ron Carter’s beautiful sound can be heard to advantage in a small line-up. The double bass is an indispensable reference point during the improvisations and gives tenor saxophonist Joe Henderson a chance to take off.
Monk Suite – Kronos Quartet (Savoy, 1992)
The strings and double bass enrich the music of Thelonious Monk and give familiar songs like ‘Crepuscule With Nellie’ and ‘Round Midnight’ new lustre.
On November 7, the Ron Carter Quartet will play at the Amsterdam Bimhuis.
Tiny Desk concert to celebrate Carter’s 85th birthday
‘Walkin”
‘Samba de Orpheus’