JIMMY CARPENTER - JUST GOT STARTED

Jimmy Carpenter is a highly respected saxophonist, singer-songwriter, and bandleader known for his dynamic performances and soulful approach to blues, rock, and R&B. With a career spanning several decades, Jimmy has earned a reputation as one of the most versatile and passionate musicians in the industry.

WORDS: COLIN CAMPBELL

His work has taken him across the globe, both as a solo artist and as a collaborator with some of the biggest names in blues music. Beyond his instrumental prowess, Jimmy’s deep connection to the music and his ability to convey emotion through his playing and singing have made him a beloved figure among fans and peers alike. I recently caught up with Jimmy to discuss his new release, Just Got Started, and other topics. Here’s how it went…

Background Story

From an early age, the allure of his father’s big band records was undeniable. “I was enamoured with my dad’s big band records,” Jimmy recalls, particularly admiring a Dave Brubeck album featuring the smooth saxophone tones of Paul Desmond. At just ten, a summer school opportunity allowed him to explore music, and “I immediately said, sax.” By twelve, his passion had solidified: “Yeah, this is what I’m going to do.” While life brought some detours, his commitment to the saxophone never wavered: “For the most part, that’s what I’ve done, what I’ve always wanted to do, and what I’m going to keep doing.”

WHAT KEEPS YOU MOTIVATED?

Doing well! It’s really about the exciting, fun, and challenging projects that come my way. Unlike a routine job, it’s never about just punching the clock. Each project is unique and always more demanding than I expect, which leaves me with a constant drive to keep going. I’m never finished,” he admits. “That just keeps pushing me, and I try to rise to the challenge.”

Just Got Started

We dove straight into discussing his new release, which features a big band sound, funk, blues, and eclectic music styles. “I’m super excited about this one,” Jimmy explains. When Mike Zito, co-owner of Gulf Coast Records and a longtime friend, proposed collaborating with the legendary producer Kid Andersen, there was no hesitation: “I was like, yes.” Walking into Greaseland Studios in San Jose, he was greeted by a stellar lineup: Jerry Jemmott on bass, Derrick D’Mar Martin on drums, Jim Pugh on keys, and Kid Andersen on guitar. “This is going to be all right,” he thought. Despite initial nerves about material readiness, advice from Albert Castiglia to “just trust Kid” proved true. The result was an amazing experience, with songs crafted with care and innovation. “It’s not a straight-up blues record by any stretch. I like getting funky; there’s blues, an Otis Rush tune, and what I think is a killer cover of My Babe. I’m thinking that’s an attention grabber. I have a deep love for the R&B soul side of things and a passion for songs that truly resonate. It has a kind of ‘70s funk vibe overall, capturing the essence we were aiming for.”

Notably, Jimmy’s vocals are more prominent on this release. He explains, “I really put in the work,” recalling how the Louisiana record marked the first time he demoed songs at home, repeatedly singing, recording, and refining them. This process “really improved things for me,” not just for those songs but overall. With this project, he applied the same dedication, noting, “I’ve really tried to train my ear and improve my vocal performance. Working with Kid Andersen was fun; we recorded 7 or 8 takes of each song, mostly live, with whole takes kept. The Louisiana record wasn’t really produced,” he explains, recalling how they recorded everything live with no overdubs, except for fixing some solos. “We just did it until I got it right.” This time, with Kid Andersen, “we added horns, effects,” but it “comes across pretty much straight ahead.” He believes “this one’s got just the right amount of production on it—it’s not too much.”

Gambling

We discussed gambling, and Jimmy reflected on one occasion: “It’s funny, when I first came to Vegas with Tinsley Ellis in 1998, we drove up from L.A. We stopped at the first gas station in Nevada, and there were slot machines everywhere. I went in there while they were messing around, and I won like 60 bucks. Then we came to the casino where we were playing, and that night I won 300, and I’ve never won again. So, I always say it’d be quicker just to wad up a 20 and throw it on the floor and leave!”

YOU GOT A CHANCE TO DO A COUPLE OF KING CURTIS SONGS AS WELL?

“I’m kind of surprised I’ve never done that before,” Jimmy reflects, considering his long-standing admiration for King Curtis since he was 17. Playing alongside Jerry Jemmott, who worked with Curtis, was “like a big circle and left me just giddy watching him.” Curtis was perhaps his biggest influence, alongside Junior Walker, Sonny Rollins, and Dexter Gordon. Curtis’ percussive, aggressive style shaped modern music, and he believes that had Curtis lived, “pop music saxophone would have been much different.”

BEST MUSICAL ADVICE?

Recalling a studio session with Dr. John, Jimmy shares, “I was standing there with my horn, and he says, ‘Are you going to play that thing or just hold it?’” When Jimmy admitted he wasn’t really a jazz player, Dr. John replied, “You don’t ever tell somebody you don’t know how to do something. You say, ‘Hell yeah, I can do this.’” Since then, he’s tried to live by that advice, overcoming doubts by embracing confidence.

Stagecraft

“I used to always co-lead things,” Jimmy recalls, sharing how in previous bands, “I did some songs, the harp player would do some, the guitar player would do some.” Reflecting on his current approach, he admits, “I think about it,” but finds that overthinking doesn’t help. He sometimes makes notes to remind himself of who to thank, but mostly, “I just roll with whatever comes to mind. Sometimes it works, sometimes it doesn’t.”

Touring Life

“After all these years, I still love to tour. Despite the physical challenges of ageing, I can still do it, but rising costs make it difficult. I sort of have to be in this state of denial about the financial side because my passion drives me to continue. For the upcoming UK run, the band lineup has changed, but with new members like Mike Hellier, Roger Innis, and Stevie Watts, this will be just fine. We’ll be meeting again at the Orkney Blues Festival in September. I’m looking forward to it; it looks wonderful, very interesting, and isolated! With a busy September ahead, including two festivals in Vegas, I’m debating whether to ride in the van for 12 hours or just fly up to meet the band. In Orkney, I get to hang out with Ian Siegal and Kyla Brox! I think it’s going to be a lot of fun. We’re going to do a special Jimmy Carpenter and Friends show on Saturday—I’m not exactly sure what we’re going to do, but it’ll be cool.”

Organising The Big Blues Bender

“With the festival just four weeks away, I’m deeply immersed in preparations. It’s barrelling towards me at a terrifying rate. The special show, One for the Soul, will honour soul music’s impact on American and global culture. We’re enhancing the Bender Brass Band with strings, extra horns, and background singers. While navigating the challenge of writing string arrangements, it’s been a learning curve, but I’m getting better. Featuring artists like Beth Hart, Los Lobos, and Trombone Shorty, working on this festival has changed my life and provided financial security and creative freedom.”

WHAT DOES SUCCESS MEAN IN YOUR LIFE?

“I think most of us, when we do well, don’t think we’re doing well enough. Conversely, when we do badly, we’re just crushed. To me, success would be learning how to handle all the things I’m doing without stressing about it. Being able to juggle all these balls calmly and well would be my ultimate goal.”

WHAT ABOUT THE FUTURE?

“In the short term, I aim to release this record and get it off the ground! I’m hoping for a Song of the Year nomination and successful sales. Having signed a new deal with Intrepid Artists, I’m focused on building resources and plan to be out there more in Europe and the UK next year. I don’t even really have a six-month plan, but right now, I just want to keep making records and getting better at all this stuff!”

WHAT’S THE BLUES SCENE LIKE IN LAS VEGAS?

Though not traditionally known as a blues town, the Blues Society has been making strides for the past 7-8 years. With nearly 500 members, they host four monthly jams in various settings, from late-night rockers to daytime gentler sessions. They also book touring acts like Nick Moss, Mark Hummel, and Carolyn Wonderland. The scene, once dormant, is now vibrant and growing, thanks to the dedicated efforts of the Blues Society board and members. Despite the challenges of juggling multiple responsibilities, there’s excitement about the progress, with a special nod to the Sand Dollar, a blues bar in Vegas since 1976, where “they never tell me what to do.”

FINALLY, ANYTHING YOU WANT TO TELL THE BLUES MATTERS MAGAZINE READERS?

“The Blues Matters public has been enormously supportive of me, and I very much appreciate it. The UK is a beautiful place to play. There’s such a diverse vibe everywhere that I go; it’s a little bit different. It’s English, or it’s Scottish, or it’s whatever it is, but it’s different! You know, Edinburgh is different from anywhere else, and I love that town, by the way!”

For further information, visit jimmycarpenter.net