Detroit's classically-trained cellist and bassist
Ron Carter (1937),
who relocated to New York in 1959 and played with Eric Dolphy (1960), Randy Weston (1960), Jaki Byard (1961) and especially Miles Davis (1963-68),
becoming one of the most prolific musicians ever,
dedicated his recordings as a leader to demonstrating the virtues of the
double bass. For that purpose
he used and reused a few original compositions.
Uptown Conversation (october 1969), that contains
toyed with various instrumental configurations including several extended bass solos to show how the bass can lead and inspire. On the other hand,
albums such as Blues Farm (january 1973), that contained his
Blues Farm and Hymn for Him,
and All Blues (october 1973), with a nine-minute All Blues and a
seven-minute 117 Special,
focused on the ability of the instrument to
contract and dilate time within a regular combo.
The double-LP Piccolo (march 1977), with the 18-minute Saguaro,
featured a quartet with pianist Kenny Barron and Carter on the piccolo bass, a
new instrument pitched between the bass and cello range.
Other noteworthy showcases were:
ten-minute Arkansas on Spanish Blue (november 1974),
Blues for D.P. on A Song For You (june 1978),
Parade on Parade (march 1979),
Alternate Route on New York Stick (december 1979),
Nearly on the Brazilian Patrao (may 1980).
His last major recording was Etudes (september 1982) in a quartet with trumpeter Art Farmer, saxophonist Bill Evans and drummer Tony Williams.
Unfortunately a lot of his discography was sterile fusion for yuppies.
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