Reviews
“The Robert Carter gig last night was staggeringly good … I would describe Carter as somewhere in the stylistic bracket of Corea/Jarrett/Taylor and with an incredible harmonic palette. His original compositions had a complication and sophistication about them that pushed the music towards more contemporary classical music”. (RADIO 3 FORUM)
'COINCIDENCE'
"This is thoughtful, cultured, laid back playing which reflects the sincerity of the participants. There are no pyrotechnics, or displays of technique merely to impress ... an album recommended to anyone interested in the continuing development of jazz by three of the most talented musicians on the British scene”. (JAZZ JOURNAL)
"There is much harmonically interesting and melodically un-clichéd playing that deserves to be heard" . (JAZZWISE MAGAZINE)
"Robert Carter plays with a captivating emotional directness and coaxes classy performances from Tim Wells and Mark Fletcher ... Coming up with an original slant on the piano trio is not easy and Carter achieves this with style. A distinguished debut". (JAZZ REVIEW)
'NOWHERE TO HIDE'
"These mysterious drifts of piano are thoughtful, elegant, pleasing, a charm to the ears ... there's a lot to admire in this album, by a man certainly deeply in love with his instrument with which he appears to be having an almost private conversation" (JAZZ REVIEW)
“Carter has pursued a doggedly personal path on the British jazz scene for the best part of four decades. He describes his desire to produce music governed by ‘beauty, simplicity and humanity’. This album is such a statement by an undervalued master.” (PHILIP CLARK, contributor to THE WIRE)
"Improvisations of profound richness ... he breathes new life into quality standards and takes us on a transcendental journey on his own compositions. A truly visionary album". (MUSICIAN MAGAZINE)
‘THAT’S JUST IT’
"Unlike all those interchangeable, compliant Evans/Jarrett clone drones, there’s intellectual grit in Carter’s playing. His originals are steely and objective. Robert Carter’s music isn’t going to change the world, or jazz, but the world, and jazz, is all the better off for the contribution of this thoughtful, technically bravura British pianist". (PHILIP CLARK)