With 25-year-old Carter on board alongside the drummer Tony Williams (17), the pianist Herbie Hancock (22) and the saxophonist Wayne Shorter (33), Davis launched his second great quintet. Across the next five years they would redefine modern jazz, releasing six albums that blended the modal explorations of Davis’s 1950s quintet with electric instruments and increasing experimentation. Here, Carter’s fluid playing and original compositions established him at the forefront of the US scene.
“That band was a laboratory and Miles was head chemist,” says Carter. “I’m very proud of the music we made and, even now, I think it still stands out. Miles wasn’t one to give orders in the studio; he was more interested in what you would bring to the session. It was a case of listening, paying attention, understanding what was developing. It was an adventure.
I heard about this album from a marvelous Rick Beato interview , George Benson: The Greatest Guitarist/Singer of All Time.
Tick Beato is a very good interviewer, but George Benson is a wonderful storyteller, so Beato was smart to just lto let him talk and listen for the most part-just a wonderful interview.
Benson is generous with his praise for people who mean a lot to him. In The Ron Carter Interview Beato asked Carter about electronically amplifying the bass. I dion't have enough baakground to really understand aeverything, but I found it very interesting that Carter with his son in tow would take a bus down to Rudy Van Gelder's studio on Saturdays to experiment and work on the techniques.
The Other Side Of Abbey Road was produced by Creed Taylor and engineered by Rudy Van Gelder. The sound of Ron Carter's bass is great. The songs were recorded as live=ensamble