Although he flew somewhat under the radar, even among bass fans, Carpenter was the busiest of L.A. session players, a highly-respected, dynamic doubler, and one of the most fervent students of his instrument. Born November 4th, 1959, in Dayton Ohio, David Edward Carpenter started on trumpet, but switched to bass at age 12. He studied music at Ohio State University, and in 1983, he landed his first major gig with Buddy Rich’s big band. The bands of Maynard Ferguson and Woody Herman followed, and in 1988 he moved to Los Angeles and quickly began making inroads on the jazz and session scenes. He would later tell the L.A. Times, “Woody’s band was the best, musically, because of the history that was in his repertoire, while Buddy was more like a life education; I got so much confidence working with him."
Over the next twenty years, Carpenter appeared on over 300 albums, countless jingles, and near one hundred film scores (ranging from Sideways to Ocean’s Eleven), while getting to work with such touchstone pop and jazz megastars as Herbie Hancock, Chick Corea, Al Jarreau, Allan Holdsworth, Barry Manilow, James Taylor, Barbra Streisand, Bette Midler, Brian Wilson, Rod Stewart, Ringo Starr, Michael Brecker, Mike Stern, and Michel Legrand. He also performed classically as a guest soloist with the Los Angeles, Berlin, and Tanglewood Symphony Orchestras. Closest to his heart were critically-acclaimed L.A. jazz groups the Lounge Art Ensemble (with drummer Peter Erskine and saxophonist Bob Sheppard), his trio with Erskine and pianist Alan Pasqua, and the Sundog Jazz Trio, with his best friend, drummer Gary Novak, and pianist Deron Johnson.
Novak, who also teamed with Carpenter in Holdsworth’s band, offered his perspective. “This is a terrible loss personally, and musically; Dave was the most profound musician I ever worked with. What I felt with him was an unbelievable sense of confidence that we could make any piece of music work. As Harvey Mason, Sr. said, when you hired him, you played better; he had a way of fitting into your kit that always made you sound your best. He was also a master at subtly moving someone to the right place in the pocket. It was amazing how many different styles Dave was great at; he could play rock with attitude, funk with finesse, and jazz with elegance. His song knowledge was deep; I can’t imagine another jazz upright player who knew seemingly every ’70s and ’80s rock tune—from Steve Miller to punk. In addition to his upright mastery, Dave was a phenomenal 6-string bassist, grabbing incredible voicings with his long fingers and strong hands; he really liked the horizontal aspect of being able to cover a wide range in one position across the frets.
Personality-wise, Carp was a hilarious, fun guy who was the support system for the band on and offstage. He’d make you feel good about the gig, knowing it would make you play well. He was the quarterback on the bandstand; if you played something he dug he’d let the whole band know it, reinforcing the sense that we’re all connected. Away from music, Dave was a most interesting and eclectic guy, from his passion for early American history to his collecting rare trippy art. I’m grateful to have lived a lifetime of adventures with Dave. He’s irreplaceable in so many ways.”
Erskine added his thoughts. “There was so much about Dave that made him a drummer’s best friend, or any project’s best friend. It seems he knew more songs than any other bass player; the changes and the melodies. He was the most attentive bass player because of his years with Buddy Rich. He would watch my stick or brush toward the cymbal, and in our trios this would allow us to float the music at times, by delaying the downbeat. I asked him about this once and he said he indeed learned it while working with Buddy, where he had to watch Buddy’s sticks to survive. He could somehow combine this open phrasing with a gutsy quarter-note time feel, coupled with a bebop-rooted melodic soloing ability that rivaled any horn player in the band. And that doesn’t begin to cover his 6-string electric work. In the Lounge Art Ensemble, we sounded like a quartet because he worked out a way of walking with chordal accompaniment. Dave just completed any picture he was in.
As a person, Dave was very funny; he didn’t suffer musical fools too gladly. When we toured and he would get frustrated with the insanity of the road, he had a unique way of venting: Each night he would draw a hilarious, richly-detailed, multi-panel comic strip featuring his alter-ego, a character named Sluggo—a nickname given to Dave by vibist Joe Locke—who was always carrying a bass in a soft case and creating havoc [see illustration below]. Dave was also warm and friendly, and so encouraging of young musicians. I did fifty albums and thousands of miles with Dave, and I miss him dearly. His sudden absence is a tremendous loss for all who knew him or knew his playing.” A memorial/tribute for Carpenter, hosted by Erskine and Bob Sheppard, will be held on August 13th, at the Jazz Bakery in Culver City [www.jazzbakery.com/calendar]. Additionally, Dave had put together a method book on melodic 5- and 6-string bass playing that his friends are planning to edit and release early next year. Watch www.bassplayer.com for further details. (CJ)
Essential Discography
Alan Pasqua, Dave Carpenter & Peter Erskine Trio (both on Fuzzy Music): Standards, 2007; Badlands, 2002. The Lounge Art Ensemble: Music for Moderns, Fuzzy Music 2005. Allan Holdsworth: Against the Clock: The Best Of Allan Holdsworth, Alternity 2005; The Sixteen Men of Train, Gnarly Geezer/Polydor 2000. Andy Summers (both on RCA): Peggy’s Blue Skylight, 2000; Green Chimneys, 1998. Al Jarreau: Accentuate the Positive, Verve 2004. James Taylor: James Taylor at Christmas, Sony 2006. Bill Holman Big Band: Brilliant Corners: The Music of Thelonius Monk, JVC 1997. Harvey Mason: With All My Heart, RCA 2004. Sundogs: Floydian Slip, Big Bark Records 2006. Tom Scott/Terence Blanchard: Cannon Re-Loaded, Concord 2007. Lee Ritenour: Overtime, GRP 2005. Jane Monheit: Surrender, Concord 2007. Dianne Reeves: When You Know, Blue Note 2008.