Kendall Carter | Interview | New Album, ‘PUR•VIEW’
Kendall Carter’s first record, produced by Dave Stryker, provided valuable guidance on assembling and releasing a record, while his latest release was entirely orchestrated by him, including the band assembly, recording, mixing, mastering, and artwork.
Unlike his debut, which focused on covers and arrangements that showcased his playing, this new album emphasizes his dual role as both a performer and a composer/arranger. The four covers on the album reflect Carter’s roots in church and gospel music, with ‘Your Basic Gospel Song’ and ‘You’re So Good to Me’ representing that style, ‘Ritha’ paying homage to organ pioneer Larry Young, and Freddie Hubbard’s ‘Happiness Is Now’ showcasing a lesser-known gem. Currently, Carter is focused on promoting this record while preparing to record gospel music with his church music ministry. His influences include Shirley Scott and Hampton Hawes for their bluesy and accessible styles, as well as modern jazz musicians Bobby Floyd and Jared Gold for their strong blues connections. Gospel musicians like Titus Robertson, Wendell Lowe, Elbernita “Twinkie” Clark, James Hall, and Billy Preston have also significantly impacted Carter due to their versatility and deep understanding of the instrument.
“As much as I love playing and recording jazz, I equally love gospel music”
Would love it if you could tell us a bit about your background and what led you to become a musician?
Kendall Carter: I’m from Louisville, KY (where I currently reside), and I come from a family of preachers, singers, musicians, and everything else in between. I started playing the piano at about 4 or 5 years old, studying under a man named James Garth. He was very instrumental in instilling in me the discipline necessary to be a musician. But as far as I can remember, the love for playing music and the desire to be a musician have always been a part of my DNA. Again, I started playing music at a young age, but around age 10, I began playing in church regularly and still do to this day. Church really helped cultivate my skills in music, as the main method for learning to play was by ear and watching others on the instruments.
Tell us about your latest album. How much time and effort went into it?
My latest release, ‘PUR•VIEW,’ was recorded mostly in the fall of 2022; I had to overdub a few things as 2023 rolled around, but the record was mainly put together back in 2022. The record features Dan Wilson (on guitar), James Gaiters (on drums), Marlin McKay (on trumpet), and Chad O’Brien (on trombone). All of these gentlemen are stellar musicians in their own right, and they are friends of mine with whom I’ve had the privilege of working over the last four years or more. I really took my time putting this album together because, as the title suggests, everything was under my scope of view. This album is my first recording with my fingerprints tied to every aspect of it—from the tunes, to the recording session, to the artwork, etc. So, I took some time to really work on dialing in what my sound would be and how I wanted to present it to the world. So yeah, it took me almost two years to put this album together and release it.
Can you share more about the tracks and studio time?
For this record, I contributed six original tunes, and these took no time to pull off. When it came to recording these tunes, the idea was very simple. We recorded no more than two takes, as I wanted the ideas to be fresh and every player to be relaxed. So, it only took us one day in the studio to record this record, and we accomplished this in about six or so hours. That’s not a long time to spend cutting a record.
The six tunes that I contributed to this release were written mainly in the blues vein, but I also had other contributing influences. ‘Turning Circles’ was written for Thelonious Monk, who, when you watch videos of him playing, can be seen dancing in circles at times. ‘Gumdrop’ was written for one of my favorite pianists, Erroll Garner. This title comes from his childhood nickname; furthermore, it is a contrafact on Duke Ellington’s ‘Take the A-Train.’ I squabble on this tune as well because that’s the way in which we replicate EG’s playing style on the organ. ‘For The Soul’s Sake’ is my take on a Lee Morgan-ish style blues; it’s meant to be played slow and gritty, from the depths of our soul. ‘Right On Brother’ is my attempt at writing a Great American Songbook style standard. ‘What A Time’ is a bright and bouncy blues with a bridge that is like a kind of last call tune that I used to signal that the record is about to wrap up. I grew fond of playing tunes like this from my time spent playing with jazz legend Jamey Aebersold. Lastly, ‘Blues for KC’ is just a good ol’ down-home blues to close out the record just as we started.
How would you compare it to your previous release?
So, my first record was produced by Dave Stryker, and he really helped me navigate how to put together and release a record. The biggest distinction between the two records is that my latest release was all orchestrated by me. From assembling the band to the recording, mixing, mastering, and artwork, I handled it all. Furthermore, the first release was predominantly covers and arrangements, which mostly placed the spotlight on my playing, so my voice as a composer wasn’t clearly heard. This time around, you get to hear me as both a performer and a composer/arranger.
How did you choose the four covers that are being featured on the album?
Let’s talk about those four covers, starting from the end of the record. ‘Your Basic Gospel Song’ and ‘You’re So Good to Me’ both shine a light on my roots in the church and gospel music. I had to include these two songs because the style they represent is a part of my DNA. ‘Ritha’ was chosen because it’s a classic organ tune written by the great Larry Young, one of the pioneers of the organ. I wanted to play a standard that wasn’t a typical standard. Lastly, Freddie Hubbard’s ‘Happiness Is Now’ is one of his gems that hasn’t been recorded as much as some of his other well-known tunes.
What’s next for you now?
As I’m still working on pushing this record, I’m also playing a lot throughout the Midwest. I’ve got plenty of shows coming up throughout the summer and into the fall. But I’m gearing up to record some gospel music with my church music ministry. As much as I love playing and recording jazz, I equally love gospel music. I’ve been writing songs for the past few years for my church and realized that it’s about time we recorded some of those songs. So, be on the lookout for music from my church, The Greater Faith Church of Deliverance.
Who are some of the most important players that influenced your own style, and what in particular did they employ in their playing that you liked?
The most important players from times past have been Shirley Scott and Hampton Hawes. The two of them have been the most influential for me because their playing is so steeped in the blues. Furthermore, their style is relaxed, it grooves, and what they play is attainable to my ears. Shirley, as we know, also played organ; and she could really play some organ. Some of the important players to me in the modern era include jazz musicians like Bobby Floyd and Jared Gold. Both are definitely steeped in blues playing, but Bobby can definitely take you to church. Meanwhile, Jared has really developed an approach to playing organ that is unique and inspiring. Now, that’s the jazz side. For my gospel influences, guys like Titus Robertson, Wendell Lowe, Elbernita “Twinkie” Clark, James Hall, Billy Preston, and many others have had a great deal of influence on me, primarily because of their versatility and vast understanding of the instrument.
Thank you for taking your time. Last word is yours.
I’d just like to thank every listener out there who has taken the time to listen to my music. It’s always a privilege and an honor to make music with musicians of like minds and kindred spirits. My hope is that you’ll tap into the blues and the grooves and let the music take your mind! If you’re into social media, feel free to follow me on Facebook, Instagram, and my YouTube page.
Klemen Breznikar
Headline photo: Kendall Carter Organ Quartet (2016)
Kendall Carter Official Website / Facebook / Instagram / YouTube
