Editing Ron Carter (section)

===1960s–1980s===
Carter was a member of the second [[Miles Davis Quintet]] in the mid 1960s, which also included [[Herbie Hancock]], [[Wayne Shorter]] and drummer [[Tony Williams (drummer)|Tony Williams]].<ref name="LarkinJazz">{{cite book|title=[[Encyclopedia of Popular Music|The Guinness Who's Who of Jazz]]|editor=[[Colin Larkin (writer)|Colin Larkin]]|publisher=[[Guinness Publishing]]|date=1992|edition=First|isbn=0-85112-580-8|page=78}}</ref> Carter joined Davis's group in 1963, appearing on the album ''[[Seven Steps to Heaven (album)|Seven Steps to Heaven]]'',<ref name="LarkinJazz" /> and the follow-up ''[[E.S.P. (Miles Davis album)|E.S.P.]]'', the latter being the first album to feature only the full quintet. It also featured three of Carter's compositions (the only time he contributed compositions to Davis's group). He stayed with Davis until 1968<ref name="LarkinJazz" /> (when he was replaced by [[Dave Holland (bassist)|Dave Holland]]), and participated in a couple of studio sessions with Davis in 1969 and 1970.  Although he played [[electric bass]] occasionally during this era of early [[jazz-rock fusion]], he has subsequently stopped playing that instrument, and in the 2000s plays only double bass.

Carter also performed on some of Hancock, Williams and Shorter's recordings during the 1960s for [[Blue Note Records|Blue Note]].<ref name="LarkinJazz" />  He was a [[sideman]] on many Blue Note recordings of the era, playing with [[Sam Rivers (jazz musician)|Sam Rivers]], [[Freddie Hubbard]], [[Duke Pearson]], [[Lee Morgan]], [[McCoy Tyner]], [[Andrew Hill (jazz musician)|Andrew Hill]], [[Horace Silver]], and others. He also played on soul-pop star [[Roberta Flack]]'s album ''[[First Take (album)|First Take]]'' and [[Gil Scott Heron]]'s ''[[Pieces of a Man]]'', including the iconic bass-line on "[[The Revolution Will Not Be Televised]]".<ref>{{Cite web |url=https://www.freep.com/story/entertainment/music/2016/08/27/ron-carter-favorite-recordings-jazz/88483434/ |title=Famed jazz bassist Ron Carter picks 10 faves from his 2,200 recordings|website=[[Detroit Free Press]] |first=Mark |last=Stryker|date=August 27, 2016|access-date=June 18, 2019 |archive-url=https://web.archive.org/web/20171026022422/http://www.freep.com/story/entertainment/music/2016/08/27/ron-carter-favorite-recordings-jazz/88483434/ |archive-date=October 26, 2017 |url-status=dead }}</ref>

After leaving Davis, Carter was for several years a mainstay of [[CTI Records]], making albums under his own name and also appearing on many of the label's records with a diverse range of other musicians.  Notable musical partnerships in the 1970s and 1980s included [[Joe Henderson]], [[Houston Person]], [[Hank Jones]], [[Gabor Szabo]] and [[Cedar Walton]].  During the 1970s he was a member of the [[New York Jazz Quartet]].<ref>{{Cite web|url=https://www.allmusic.com/artist/new-york-jazz-quartet-mn0000398904/biography|title=New York Jazz Quartet &#124; Biography & History|website=[[AllMusic]]|access-date=July 25, 2021}}</ref> In 1986, Carter played double bass on "[[Big Man on Mulberry Street]]" on [[Billy Joel]]'s album ''[[The Bridge (Billy Joel album)|The Bridge]]''.<ref>{{Cite web|url=https://www.allmusic.com/album/the-bridge-mw0000194333/credits|title=The Bridge - Billy Joel &#124; Credits |website=[[AllMusic]]|access-date=July 25, 2021}}</ref> In 1987, Carter won a Grammy for "an instrumental composition for the film" ''[[Round Midnight (film)|Round Midnight]]''.<ref name=":0" /><br />