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
Carter’s ease with swing, bop and avant-garde styles also gave notice that a staggeringly inclusive figure—the apotheosis of the postmodern jazzman—was now among us.
Reinhardt’s spirit started talking to Carter when he was just 14, listening to a jazz radio program in his Detroit home.... Sixteen years later, the spirit of Reinhardt rose again