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
The music, commissioned by the DSO and written for Carter, shows off his brilliant technical command of the tenor and soprano saxes and carves out space for improvisation in which his ideas burst like fireworks.
Make no mistake: Carter
who has emerged as one of the brightest stars in jazzdom, was the man. His performance was nothing short of a virtuoso clinic, a toe-tapping, heart-stopping, smile making romp.