Recording of the Week, Matt Carter Octet - Read Between The Lines

Having recently graduated from the Royal Academy of Music, you’d be mistaken to think that for pianist Matt Carter, his first foray into the world of jazz would only be a fledgling affair. On the contrary, the young bandleader’s debut is a delectable mixture of ambitious compositions and arrangements, with stellar musicianship to boot. Comprising several of Carter’s conservatoire companions, the group’s first album was recorded in North London where the group laid down the sessions in late 2022, no doubt having cut their teeth over the course of a successful UK-wide tour which took place earlier that summer.

Their enlightened education, a testament to the calibre of jazz tuition in this country, comes across as rigorously abundant without being too academic or inaccessible. Instead, the listener is led by the hand (or, more accurately, the ear) as they are invited into this wondrous world of musical knowledge and appreciation. As opener ‘Sunny Side’ fades in cheekily, for example, it evokes all the Heftian pomposity of Basie-era swing and the feeling of a bygone era. Funny then, as the actual Hefti-number on the album, ‘Girl Talk’, is a much more laid-back effort – and convincingly so! It only goes to show the breadth of Carter’s skill for setting the scene and conveying the appropriate mood. So too is the immaculate presentation of his band’s knack for adapting themselves to the demands of the music. Take bassist Joe Lee’s solo, which arrives at the halfway point during the Gershwin-classic, ‘They Can’t Take That Away From Me’. As a musician, he is clearly well-versed in his trade; his particular post-bop eloquence is a joy to hear – the same must be said for the rest of his colleagues.

The cast of musicians, a veritable band of brothers, take matters into their own hands as they breeze through a dazzling array of tunes, each one bearing its own unique idiosyncrasies and stylistic features, from the heroic folkish bounce of ‘High Germany’ to the solemnly exquisite balladry of ‘Duke’s Mood’ – on which Harry Maund’s trombone solo could bring a tear to a glass eye. Guest-flautist Gareth Lockrane emerges on top for ‘Fighting Talk’, his jaw-dropping dexterity immediately making itself known in a stunning display of nimble virtuosity. The alto of Tom Smith serves as an invigorating counterpoint, whilst Luke Tomlinson really goes to town on his duties behind the kit. Once again, Carter’s writing is sharp and to the point as he leads from the rear; cool, calm and collected. He knows how to arrange for jazz players, not only in service of the tune but of their own talents as well. Together, they make the most of every phrase without a second wasted on gratuitous or self-evident passages of egocentrism. Rather, the listener establishes a sense of the ensemble working as a whole throughout – even those sitting out; you can just feel their champing at the bit to clamber on in and join the clear-cut melee!

There’s much to be said for the generosity of this impressive recording, which provides ample opportunities for the core ensemble – and, let’s face it, they all are – of performers to shine, taking both their abilities on an individual and group level into account. With inspired solos, colourful arrangements and a general atmosphere of diligent musicianship, this is one of the most enjoyable new releases to have emerged from the London scene in the past few years.