Over the next 20 years, Carpenter appeared on over 300 albums, countless jingles, and near 100 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, Ringo Starr, Michael Brecker, Mike Stern, Rod Stewart, 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 Dave, you played better; he had a way of fitting into your kit that always made you sound your best. It was amazing how many different styles he was great at; he could play rock with attitude, funk with finesse, and jazz with elegance. In addition to his upright mastery, Carp was a phenomenal 6- string bassist, grabbing incredible voicings with his long fingers and strong hands. Personality- wise, he 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’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 bassist because of his years with Buddy Rich; he would watch my stick or brush, and in our trios this would allow us to float the music at times, by delaying the downbeat. 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. He was warm, funny, friendly, and so encouraging of young musicians. His sudden absence is a tremendous loss for all who knew him or knew his playing.”