has been a world class bassist and cellist since the '60s. He's among the greatest accompanists of all time, but has also done many albums exhibiting his prodigious technique. He's a brilliant rhythmic and melodic player, who uses everything in the bass and cello arsenal; walking lines, thick, full, prominent notes and tones, drones and strumming effects, and melody snippets. His bowed solos are almost as impressive as those done with his fingers.
has been featured in clothing, instrument, and pipe advertisements; he's close to being the bass equivalent of a
in his mix of musical and extra-musical interests.
's nearly as accomplished in classical music as jazz, and has performed with symphony orchestras all over the world. He's almost exclusively an acoustic player; he did play electric for a short time in the late '60s and early '70s, but hasn't used it in many, many years.
Carter began playing cello at ten. But when his family moved from Ferndale, MI, to Detroit,
Carter ran into problems with racial stereotypes regarding the cello and switched to bass. He played in the Eastman School's Philharmonic Orchestra, and gained his degree in 1959. He moved to New York and played in
Chico Hamilton's quintet with
Eric Dolphy, while also enrolling at the Manhattan School of Music.
Carter earned his master's degree in 1961. After
Hamilton returned to the West Coast in 1960,
Carter stayed in New York and played with
Dolphy and
Don Ellis, cutting his first records with them. He worked with
Randy Weston and
Thelonious Monk, while playing and recording with
Jaki Byard in the early '60s.
Carter also toured and recorded with
Bobby Timmons' trio, and played with
Cannonball Adderley. He joined
Art Farmer's group for a short time in 1963, before he was tapped to become a member of
Miles Davis' band.
Carter remained with
Davis until 1968, appearing on every crucial mid-'60s recording and teaming with
Herbie Hancock and
Tony Williams to craft a new, freer rhythm section sound. The high-profile job led to the reputation that's seen
Carter become possibly the most recorded bassist in jazz history. He's been heard on an unprecedented number of recordings; some sources claim 500, others have estimated it to be as many as 1,000. The list of people he's played with is simply too great to be accurately and completely cited.
Carter's been a member of
New York Jazz Sextet and
New York Jazz Quartet,
V.S.O.P. Tour, and Milestone Jazzstars, and was in one of the groups featured in the film Round Midnight in 1986.
He's led his own bands at various intervals since 1972, using a second bassist to keep time and establish harmony so he's free to provide solos.
Carter even invented his own instrument, a piccolo bass.
Carter's also contributed many arrangements and compositions to both his groups and other bands. He's done duo recordings with either
Cedar Walton or
Jim Hall.
Carter's recorded for Embryo/Atlantic, CTI, Milestone, Timeless, EmArcy, Galaxy, Elektra, and Concord, eventually landing at Blue Note for LPs including 1997's
The Bass and I, 1998's
So What, and 1999's
Orfeu.
When Skies Are Grey surfaced in early 2001, followed a year later by
Stardust,
Carter's tribute to the late bassist
Oscar Pettiford. In 2006 another tribute album was released,
Dear Miles, dedicated to
Miles Davis, also on Blue Note.
–
Ron Wynn, Rovi