Schnall reveals poignant and joyful details of the jazz maestro’s life, from his early years as a cello student in high school through his years in the Miles Davis Quintet of the ‘60s and into his vital solo career that continues to expand. In addition to the television broadcast premiere, the exclusive soundtrack of never-before heard Carter performances were released on CD on October 21 by Freiburg, Germany-based IN+OUT Records, which also releases the soundtrack on double vinyl today. The 2-LP version includes ''Nearly," a bonus song not on the CD that features Carter's touring band: pianist Renee Rosnes, saxophonist Jimmy Greene and drummer Payton Crossley.
The album includes a live performance filmed at the Newport Jazz Festival of Carter’s classic original “Soft Winds,” and an impromptu bass duet of “Willow Weep for Me” with Christian McBride at The National Jazz Museum in Harlem. There are also tunes from two New York Blue Note club sessions with Bill Frisell on “My Man’s Gone Now” and a first-time recording with fellow bassist Stanley Clarke on “Bag’s Groove.” The most rewarding recording comes when Carter meets up with Jon Batiste at the Power Station studio for a conversation and ultimately a song: “Sweet Lorraine.”
Toward the end of the production, Schnall had thought of reviewing Carter’s history, but then decided to have someone else on screen. He invited Batiste who was once a student of the elder while he attended Juilliard. What better choice than to have two of music’s most prominent artists talk together? The session lasted two hours. “My hope was that the two would play together,” says Schnall. “When Ron showed up with his bass, I knew that something was going to happen.”
Schnall admits that he didn’t grow up as a jazz aficionado. His introduction to Carter came from his friend John Matera, a jazz enthusiast, who had invited him to see the bassist perform at the Blue Note in the West Village. “Towering over his bass, Ron played with a sensitivity that commanded attention,” Schnall writes in the recording liner notes. “I was mesmerized. When the show ended, my friend John told me we had just witnessed the greatest living bass player. He wondered why a documentary had never been produced on Ron’s 60-year career. Half-joking, I said, maybe now’s the time.”
So began Schnall’s long journey interviewing Carter at his house, on the road, in the studio to fully understand the 85-year-old’s majestic life story, with Jonathan Zalben serving the valuable role as the film’s musical supervisor. He started out by writing a letter to Carter and then visiting him at home. “It was the most wonderful and interesting and surprising conversation. We chatted for two hours, not so much about music, but about life. That was to be the beginning of an extraordinary journey together.”
If Schnall hadn’t been steeped in jazz before, he certainly gained a depth of appreciation from Carter as well as from the other great jazz musicians he interviewed, ranging from Herbie Hancock to Sonny Rollins.
As for getting the documentary out to the public, Schnall first pitched the story to PBS. “They immediately said ‘yes’ to the project, they were very excited about the Ron Carter story,” he says. “Later, when we presented PBS with our 90-minute rough cut, they asked if we could extend the show to two hours. That doesn’t happen too often.”
The same enthusiasm held true with IN+OUT Records. “The soundtrack was produced in less than three months,” Schnall says. “It’s an important compilation, as the tracks represent the breadth and scope of the music Mr. Carter has been performing throughout his career.”
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