Ron Carter erinnert sich an die Arbeit mit Miles Davis – im Gespräch mit Mark Stryker, der ihn aufforderte, seine zehn liebsten Sessions/Aufnahmen zu nennen:
Carter: My first record with the Miles Davis band. … On „Baby Won’t You Please Come Home,“ Victor Feldman just plays some great chords. He was a wonderful pianist to play with and to listen to — and he plays very good vibes as well. I played with him with Cannonball Adderley in Europe before then; I did a tour with Cannon and when Sam Jones played cello, I played bass for one tune a night.
If you listen to that track very carefully we do a couple tags, and I’m trying to get Victor to play a diminished chord on one of those routines and he doesn’t get it until the last time we do this tag cycle. I knew that he was paying attention to what I was doing and he decided that was a very good note, and how can I help that note? Miles.sensed that, and he dug what was going on between Victor and I.
Stryker: Did Miles ever talk to you directly about what he liked about your playing?
Carter: Not to me. The set opener was always „Autumn Leaves.“ One time I played a note on the last measure of the song to go back to the top of the tune. It was a note he didn’t expect to hear, and as we were playing behind George he walked by and said, „What was that note?“ I told him it was a B natural, the third of G dominant 7 going back to C minor, and I can’t talk while I’m playing so don’t ask me any more questions.
Sehr schön! 
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #164: Neuheiten aus dem Archiv, 10.6., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba