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RHAPSODY
Paul Kendall

(Sea Breeze Jazz - 3035)
1999 |
Track Listing: |
If I Should Lose You; Willow
Weep for Me; My Shining Hour; Firm Roots; Impressions; Barbara;
Recordame; Retro; My Romance |
Personnel: |
Paul Kendall- tenor
saxophone
Matthew Fries, Tim Regusis- piano
Dave Jackson- bass
Alvester Garnett, Skip Scott- drums |
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Jazz Times
Rhapsody is filled with straightahead, post-Coltrane tenor
playing with hints of Joe Henderson. Kendall is at his best on the
up-tempo tracks, where he sails through the program of popular
songs ("If I Should Lose You," "My Romance"), jazz standards
("Impressions," "Recordame," Horace Silver's "Barbara," Cedar
Walton's "Firm Roots") and a Matthew Fries original with technical
ease and harmonic security. He plays every bit as well as many
other contemporary tenorists who receive much more notice, though
he is less successful on the ballad "Willow Weep for Me," where he
appears to be trying to generate emotion through bluesy, high
register cries rather than interesting melodic or rhythmic
material.
The CD covers three recording sessions, with bassist Dave Jackson
present for them all. The drummers are Alvester Garnett or Skip
Scott and the pianists are Fries or Tim Regusis. Regrdless of who's
playing at any given time, the rhythm section lays down solid time
and fires up the leader appropriately. Jackson and the two pianists
take excellent advantage of their solo spots, with Matthew Fries
being especially impressive.
By David Franklin - JazzTimes - May 2000
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allaboutjazz.com
Saxophonist Paul Kendall leads several different quartets
throughout this latest session of warm standards. As the album's
title implies, it's all about melodies and rich harmony. However,
Kendall makes sure throughout that there's plenty of space for
everyone to stretch out. Averaging eight minutes per track, the
program features Kendall's romantic tenor saxophone improvising
over familiar chord changes. His crystal-clear tone and
light-fingered technique set the mood so that the others are able
to contribute accordingly.
Notable is pianist Matthew Fries' blues introduction and support
for "Willow Weep for Me." His composition "Retro" adds a modern
mainstream touch to the session that sets this tune apart from the
others with its fresh piano-bass-drums interaction. For John
Coltrane's "Impressions" the quartet smokes at a blazing tempo,
while on Horace Silver's "Barbara" they waltz comfortably with as
much power but in a different mood. Cedar Walton's up-tempo "Firm
Roots" creates a place for Kendall to demonstrate his fluid
articulation and confident phrasing. Consistent through his latest
two recordings and several bands, Paul Kendall offers a fresh sound
and familiar songs intended for the general audience.
By Jim Santella - allaboutjazz.com
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Cadence
Using eight very familiar songs and one original as the platform
for displaying his talent, tenor player Kendall and his quartet
accelerate in straight-ahead gear on Rhapsody. Kendall is
not an overpowering blower. He plays with concentrated flair as a
modern-day bop and post bop advocate while exhibiting just a slight
rasp in his tone. The program consists of lengthy solos by Kendall
as he skirts through multiple choruses of the tunes that are
spelled by substantial solo work by the band. Kendall is
comfortable meandering through slow ballads, but he really gets
into a groove on the fast-paced tunes such as "My Shining Hour"
where he burns brightly at double time. His most adventurous
playing comes on "Impressions," where he and the others break out
of the period mold. All the selections are lengthy, and Kendall
shines with spirited blowing on all of them.
Although bassist Jackson is a constant on all selections, the piano
chair is shared by Fries and Regusis, while Scott and Garnett
alternate as the drummers. Fries is the pianist of record on
two-thirds of the cuts. He has a firm hand that suits the robust
playing style of Kendall. Lurking in the background while Kendall
exercises his rights, he comes to life with boppish solos to fill
in all the cracks and crevices of the tunes. Regusis is more
percussive on his turns at piano, comping exuberantly in block
format. Drummer Garnett is on six of the nine cuts, and he has the
opportunity to play with each of the pianists. His playing is more
contained than it was on (other recordings), and he concentrates
more on setting the pulse from which Kendall and the two pianists
can springboard. When given solo status, he sheds his support image
with vigorous playing. Kendall does not attempt to break new ground
on theis recording, but his playing is hearty and wholesome, and
the band is always vibrant. They communicate exceedingly
well.
By Frank Rubolino - Cadence - June 2000
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Jazz Journal
International
It's been a very long time since I've been so impressed by a
musician I hadn't previously heard. Paul Kendall is a 38-year old
New Yorker who has worked with Charlie Persip and Kenny Drew Junior
and plays flute and clarinets as well as all the saxophones. On
these two CDs he concentrates on tenor only and they constitute an
extraordinary debut. Kendall sounds like a natural jazz musician -
his music has the stamp of authenticity - yet the CD's offer a
contrast which extends to more than the instrumentation.
On Unspoken Words, with
organ and generally brushes discreet in the background, slow tempos
predominate and Kendall proves himself a lyrical ballad player with
an exceptional command of the upper register where his tone is
quite beautiful.. DB Blues, however, (which is not the Lester Young
composition) shows he's able to construct emotive blues choruses in
the grand tradition and recalls the Jacquet-Buckner-Jo Jones trio
which used to visit London almost 30 years ago.
Rhapsody seems designed to compliment the first CD. It
presents generally faster tempos, a stronger Coltrane influence and
a more forceful approach, with more space allowed for contributions
from the fluent rhythm section. Willow Weep for Me is the only slow
piece but although Kendall again makes considerable use of the
upper register he does so with more aggression than before,
recalling the Texas school of Jacquet and Tate. It's this ability
to draw from not just Coltrane but earlier tenormen as well which I
find so appealing in Kendall's music. For their range of expression
and feeling and their broad frame of reference these CDs are both
strongly recommended.
By Graham Colombe - Jazz Journal
International
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All Music Guide
An excellent bop-based tenor saxophonist based in New York, Paul
Kendall has recorded several worthy CDs for small labels, starting
in the late '90s. For this set, he is heard at the head of three
overlapping quartets that have Matthew Fries or Tim Regusis on
piano, bassist Dave Jackson and Skip Scott or Alvester Garnett on
drums. In addition to Fries' "Retro," the set consists of eight
jazz standards, including a few songs (Cedar Walton's "Firm Roots"
and Horace Silver's "Barbara") that are not exactly overplayed.
Kendall's warm and forceful tone, plus his ability to think
quickly, are major assets throughout this fine straight-ahead
date.
Scott Yanow - All Music Guide
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