A mainstream-cummodern master of all the saxophones from contrabass to sopranino, James Carter's star is rising. He recently took first place in the baritone sax category of the annual Downbeat readers’ poll and is one of very few jazz instrumentalists remaining on Universal's slimmed-down roster. An imposing figure and snappy dresser, he is best appreciated live. But this album, featuring Gerard Gibbs and Leonard King, two young Detroit homies and inspirational players, gives a good idea of the infectious energy and remarkable acoustic power he and his band transmit. This is the killer trio he brought to Ronnie Scott's last year, shortly after touring Europe with Dee Dee Bridgewater's Billie Holiday tribute show. Dee Dee's exuberant vocals are always a tough act to follow, but James’ booting solos on tenor and baritone rounded off her numbers splendidly. On all the horns his range and command of overtones, tongue-slapping and multiphonic effects is exhaustive, and his sound projection is awesome – somewhere between vintage Lockjaw Davis and the QE2 leaving Southampton Docks. His latest sonic smörgåsbord includes tasty postbop, deep-dyed gospel and jumping Louis Jordan-style jive – ‘Walk Right In, Walk Right Out’ could be a hit if plugged properly – plus touches of Duke Ellington (‘Come Sunday’), Julius Hemphill (‘The Hard Blues’) and Ronald Shannon Jackson for good measure. Thoroughly enjoyable.