Potter earned an honorary set of keys to the Vanguard on the strength of this performance alone.
When Got the Keys to the Kingdom landed in 2023, critics took notice immediately. Chris May from All About Jazz gave it four stars and suggested Potter deserved an honorary set of keys to the Vanguard on the strength of it. Bill Milkowski from The Absolute Sound went further, calling Potter "the most potent and impactful tenor saxophonist of his generation" and awarding five stars. Jon Turney from London Jazz News praised it as an outstanding display of twenty-first century jazz in full flow. This wasn't a slow-burn reputation builder—it arrived fully formed, with serious voices recognizing something special right away.
What makes the record worth hearing is the repertoire itself. Potter made a deliberate choice to cover tunes people don't usually play, which immediately sets the session apart from standard live recordings. Working with Craig Taborn on piano, Scott Colley on bass, and Marcus Gilmore on drums, Potter navigates unfamiliar material with the confidence of someone who knows exactly what he's doing. The band is tight, responsive, and willing to take risks with arrangements that might surprise even regular Village Vanguard listeners.
This is Potter's fourth release for Edition Records, so it sits comfortably within an already strong catalog rather than marking any sudden departure. But for listeners wanting to hear him in live settings with a working rhythm section, this recording captures him at full intensity, making decisive choices on material that demands real creative thinking.