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.
-Steve Futterman, THE WASHINGTON POST

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.
-Christopher John Farley, TIME