Learn How

We need your help in 2018

Support All About Jazz All About Jazz is looking for readers to help fund our 2018 projects that directly support jazz. You can make this happen by purchasing ad space or by making a donation to our fund drive. In addition to completing every project (listed here), we'll also hide all Google ads and present exclusive content for a full year!


Kent Carter


Sign in to view read count
...The most important thing is to make everything around you as beautiful as possible.
There are those improvisers who find Europe both a financially more stable climate as well as an aesthetic challenge. Steve Lacy and his regular bassist for almost 20 years, Kent Carter, are a prime example. Carter, while certainly his own musician with a unique conception, is in some ways inextricably tied to Lacy, for the path to musical freedom was reached through the open door of European improvisation.

Carter was born June 14, 1939 in New Hampshire, though he was raised in Vermont. Starting on cello and bassoon, his woody tone came naturally, as did an interest in strings. His father was a violist and the director of the state-subsidized Vermont Symphony Orchestra, and following brief attention to the banjo and electric bass, Carter switched to the upright in the '50s: "I had to help out in a dance band playing college campuses and stuff like that. In the old days, the sorority houses used to hire bands for the weekend parties. It was very exciting and my first exposure to playing something in the jazz world. From there, I wanted to get a good bass and study." Carter worked as much as he could in the jazz environment that was Vermont at the time, but it was familial obligations that finally sent him to Boston in the late '50s: "I went down to Boston to go to one of those IBM technical schools for two months and ended up working at a bank, so I moved my family down there and so forth. I started studying at the Berklee School of Music, and Herb Pomeroy ran the recording band. He asked me if I would like to play in the band, and he arranged that I could take all the courses that I wanted to for a year, if I did all the recordings." Though interested in and exposed to modern jazz in Vermont and at Berklee, it was an encounter with legendary Boston pianist, percussionist and theorist Lowell Davidson that brought Carter into the jazz vanguard, for working with Lowell brought Carter to New York.

Lowell and Carter worked in a progressive trio with variously Billy Elgart, Milford Graves or Paul Motian in the drum chair, and it was an aggregation of this trio that played the October Revolution in Jazz at the Cellar Café in 1964. An explosion of the new jazz' most creative minds, Carter met trumpeter/composer Mike Mantler and Paul and Carla Bley during this period, and regular work with this triumvirate led to gigs with the nascent Jazz Composers' Orchestra as well as a European tour with Paul Bley and drummer Barry Altschul, playing in Berlin and Copenhagen's Café Montmartre. Through these connections, the most fruitful partnership of Carter's career developed, for his tenure with soprano saxophonist Steve Lacy began in 1965: "[Lacy] had this incredible sound, more lyric in a way, but very, very hip. It stood out and could burn through the biggest sound you could believe - it's like gold." The two embarked on a trip to Germany for which few of the promised gigs stayed open, and the bassist returned to New York in 1966 - but not before connecting with trumpeter Enrico Rava, drummer Aldo Romano and vibraphonist Karl Berger for Lacy's "The Precipitation Suite". This connection with some of the movers and shakers of European improvisation in the '60s led to Carter's return to the Continent in 1969, hooking up once again with Lacy. Apart from the brief interruption early on, the bassist stayed in this group in one form or another until 1982; they were often joined by altoist Steve Potts, cellist/violinist/vocalist Irene Aebi, pianists Mal Waldron and Bobby Few and drummers Noel McGhie and Oliver Johnson. Going from Monk to freedom came naturally for Lacy and for the group: "Lacy wanted openness; he wanted to move out of something and get into another something. He wanted to move. He went through this period, and we all did, of working from scratch, just playing. Out of that came his composing; he started to compose."


comments powered by Disqus

More Articles

Read Ranky Tanky: African Rhythms Preserved Profiles Ranky Tanky: African Rhythms Preserved
by Martin McFie
Published: January 18, 2018
Read Zara McFarlane: Embodying the Spirit of Jamaica Profiles Zara McFarlane: Embodying the Spirit of Jamaica
by David Burke
Published: January 13, 2018
Read Fabian Almazan: Environmental Action Figure Profiles Fabian Almazan: Environmental Action Figure
by Franz A. Matzner
Published: January 9, 2018
Read Gilly’s Remembered Profiles Gilly’s Remembered
by Michael J. Williams
Published: November 30, 2017
Read Jon Hendricks: Vocal Ease Profiles Jon Hendricks: Vocal Ease
by Greg Thomas
Published: November 23, 2017
Read "Martin Speake: The Thinking Fan's Saxophonist" Profiles Martin Speake: The Thinking Fan's Saxophonist
by Duncan Heining
Published: April 28, 2017
Read "Soweto Kinch: A Singular Jazz Odyssey" Profiles Soweto Kinch: A Singular Jazz Odyssey
by David Burke
Published: August 10, 2017
Read "Mike Osborne: Force Of Nature - Part 2-2" Profiles Mike Osborne: Force Of Nature - Part 2-2
by Barry Witherden
Published: November 3, 2017
Read "Mike Osborne: Force Of Nature - Part 1-2" Profiles Mike Osborne: Force Of Nature - Part 1-2
by Barry Witherden
Published: November 2, 2017
Read "Mark Turner: Grounded in a Spiritual World" Profiles Mark Turner: Grounded in a Spiritual World
by Kurt Rosenwinkel
Published: October 17, 2017