In the competitive and expanding world of young jazz musicians, saxophonist James Carter has already distinguished himself. Comfortable with players as far afield as Wynton Marsalis and the late Lester Bowie, Carter has proven adept at most of jazz's various modes and styles, and two new albums demonstrate even more clearly the diversity of his work. Chasin' The Gypsy is a tribute to Romany guitarist Django Reinhardt, one of jazz's most revered players and the object of much adulation in Woody Allen's recent Sweet And Lowdown. Carter, of course, is not a guitarist, nor does he stick solely to Reinhardt's music: Like trumpeter Dave Douglas' recent tribute to pianist Mary Lou Williams, Chasin' The Gypsy draws inspiration from Reinhardt rather than sticking strictly to reverent renditions of his compositions. With a superb lineup backing him (including violinist Regina Carter, guitarists Jay Berliner and Romero Lubambo, percussionists Cyro Baptista and Joey Baron, bassist Steve Kirby, and accordionist Charlie Giodano), Carter does justice to Reinhardt while retaining his distinct identity. Layin' In The Cut—which teams Carter with guitarists Jef Lee Johnson and Marc Ribot, as well as stalwart Prime Time and James "Blood" Ulmer players Jamaaladeen Tacuma and G. Calvin Weston on bass and drums—marks Carter's first foray into electric music, with trace elements of funky harmolodics. Tacuma and Weston are more restrained here than on the recent Derek Bailey collaboration Mirakle, while Johnson and Ribot add subtle filigrees and textures between Carter's creative solos. The album is less soulful than the Reinhardt tribute, but it's even more adventurous, with Carter tipping his hat to both R&B and fusion. The fact that he's accomplished so much already makes it especially enjoyable to hear Carter continuing to expand his horizons.