Recorded at the same session as his debut, Carter’s next release, Jurassic Classics (1994), found him entering the Top Jazz Albums chart for the first time. It was a feat to be echoed with four of Carter’s subsequent releases: The Real Quiet Storm (1995), Conversin’ With The Elders (1996), In Carterian Fashion (1998), and Chasin’ The Gypsy (2000).
Gardenias For Lady Day is the first James Carter collection since the simultaneous release, in June 2000, of Layin’ In The Cut, an electric jazz/funk collective jam session, and Chasin’ The Gypsy, an homage to Django Reinhardt. In a review of those two albums, Rolling Stone (August 3, 2000) asserted that “…saxophonist James Carter is as near as jazz gets nowadays to a Young Turk—not some ironically avant-post-rock experimentalist but a cocky scene stealer with…a knack for coming up with noticeable records.”
Carter recorded his trio in 2005 for the Half Note release, Out of Nowhere, and in 2006 recorded
James Carter has cemented his reputation as one of the most adventurous, visionary young reed players on the cusp of this new millennium.... Not as an outsider, but as one of the most exciting young virtuosos in contemporary music....
Whether he’s playing tenor or soprano sax, shows off a sweet, sinuous tone; when he reinterprets Reinhardt’s classic Nuages with a bass sax, the muscular sound is distancing at first, but then it wraps itself around the listener like an anaconda.