Finn Carter Quartet: Hymn for My Dad

From working as a cloakroom attendant at Ronnie Scott's in London to performing on the club stage to a sellout audience with one's own quartet is quite a journey. It might sound like a corny plot from a TV series, but since playing their first show in 2021, Finn Carter and his quartet have gone from strength to strength with a string of sold-out shows, including playing the main show at the venerated Ronnie Scott's and headlining the Brick Lane Festival. And they are expanding their audience in Europe.

It helps that the members of this rapidly-rising quartet are firmly grounded in the jazz tradition. They bring a diverse array of influences to bear, including cinematic soundtracks, electronica and classical, but it is their improvisational creativity that shines brightest on their debut album Hymn for My Dad. Alongside Carter on piano, the quartet features some standout members of London's vibrant jazz scene: saxophonist Kaidi Akinnibi, bassist Joe MacLaren and drummer Morgan Simpson. Between them, they have played or recorded with Tom Misch, Mark Kavuma's Banger Factory, Loyle Carner, Rex Orange County and Blue Lab Beats. The album has nine tracks, all composed by Carter.

Their opening statement, "Paean (for Y.D.)" is a good representation of what is to follow. Carter's fleet-fingered melodic improv emerges from entwined piano and sax. This is followed by Akinnibi's expressive sax. MacLaren's bass steers this complex shape-shifting mix of tension and sentiment, finding space for all and ending with Simpson's inventive drumming. "Nepotism" is full of energy and is built around a single chord. In addition to the inventive improvisations, it is notable for a terrific extended drum break from Simpson.

Carter may write the material, but the ensemble is a marriage of equals, with all making memorable contributions. The undulating rhythms of "Drink Water" are an ideal example, with excellent interplay topped off by soaring sax from Akinnibi (who gives a giant performance throughout). "Swimming Pool Jones" starts with a gospel feel, MacLaren's bending strings capturing the attention before Akinnibi's mysterious sax notes start far in the background then burst forward. The gentle "Pentire" has creative sax and piano improvisations, while the personal title track is nostalgic and melodic.

The album closes with the impressive "Like Crawler." Introduced by MacLaren and closed by Simpson, Carter and Akinnibi swirl through different moods during their well-constructed improvs as the track moves to an inevitable crescendo. The quartet have a gift for improvisation while staying within an accessible melodic framework. The soundscape is sometimes tightly-packed, dramatic and multi-faceted, but they also let in space to let the compositions breathe. Carter's sensitive, mature and fluent piano is backed by some stellar performances, making this a remarkable debut.

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