Bob Reynolds
Can't Wait for Perfect
© 2006 Bob Reynolds (8427328422550)
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At times channeling the grit of the great Cannonball Adderley, at others sounding like a smoother Michael Brecker, Reynolds is mostly his own man, with his own voice, and his original songs are a fresh, soulful, and groove-oriented approach to modern jazz
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“Some of the freshest, most compelling, and most soulful music I have heard recently. Bob is an amazing musician, with something very exciting and original to say.”
— Joshua Redman
The sheer quality of so much of the music performed by (relatively) unknown up-and-coming musicians is gratifying, for obvious reasons, but it can also be troubling. It is difficult to escape the realization that too many of these musicians will ultimately fail to get the attention they deserve.
How nice it is, then, to hear Bob Reynolds, a gifted young saxophonist and composer whose record Can't Wait For Perfect is already garnering raves from no less than the likes of Joshua Redman and Michael Brecker. The ten compositions on this release become firmly lodged in one's noggin after only a few listens, demonstrating why Reynolds is a three-time winner of ASCAP's Young Jazz Composer Award. The performances by Reynolds and his excellent group, featuring pianist Aaron Goldberg, bassist Reuben Rogers and drummer Eric Harland, are utterly assured, whether locked into a deep groove or nimbly dancing around a tricky figure in shifting meters.
The tunes emphasize two major aspects of Reynolds' sound. The first is his way with a groove, epitomized by the fantastic title track, which sounds something like the classic Cannonball Adderley quintet with Joe Zawinul as remixed by Radiohead. Also irresistible is “Last Minute (Late Again),” a funky workout driven along by Rogers' insistent bass figures that perfectly conjures up a feeling of dashing along bustling city streets. “Playing other people's music is like being an actor,” says Reynolds, “you're helping articulate a director's vision. But writing my own music is like being the director, having control over the whole sonic landscape; fully expressing my own vision.”
The second batch of tunes demonstrate that Reynolds can write and play rhythmically and harmonically complex modern jazz that swings fiercely. Tops here is “First Steps,” a knotty melody over shifting meters that benefits from the strong contribution of guest guitarist Mike Moreno. Also of note is lead-off track “Common Ground,” with a great solo by Goldberg that climaxes with a flurry of harmonized arpeggios over the unusual but effectively subtle zooms of guest David Soler's pedal steel. “Nine Lives” combines several of Reynolds' strengths, built on a 9/4 meter that somehow manages to feel locked in and fetauring a great straightahead solo, followed by some artfully overdubbed and treated multi-sax figures. Saxophonist Joshua Redman recently performed this tune with his Elastic Band.
Reynolds accomplishes the difficult task of incorporating funk, rock and soul touches without losing the essential swing and driving intensity of jazz. Can't Wait For Perfect should appeal to serious jazzers, as well as listeners who come to the music from a funk or groove angle. Clearly, Bob Reynolds is someone to watch.
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Can't Wait is simply brilliant - fresh and classic - a new jazz genius has arriv
author: Anne JacobyBob Reynolds' Can't Wait is a groundbreaking display of raw talent, vision and mastered artistry. Jazz enthusiasts will note the album's poetic arc and irresistible themes, and music lovers of all genres will crave Bob's clevor melodic and rhythmic creations. Favorites include Can't Wait, the Escape and Nine Lives - well, actually, the entire album is superb. Kudos.
Don't need to wait for perfect anymore!!
author: adam michaelsWow this is an amazing CD!! I love everything about it....the originals are so fresh, and Bob Reynolds offers such a performance! It is a perfect CD in my collection!
Sounds something like the classic Cannonball Adderley quintet as remixed by Radi
author: Joshua Weiner - AllAboutJazz.comThe sheer quality of so much of the music performed by (relatively) unknown up-and-coming musicians is gratifying, for obvious reasons, but it can also be troubling. It is difficult to escape the realization that too many of these musicians will ultimately fail to get the attention they deserve. How nice it is, then, to hear Bob Reynolds, a gifted young saxophonist and composer whose record Can’t Wait For Perfect is already garnering raves from no less than the likes of Joshua Redman and Michael Brecker. The ten compositions on this release become firmly lodged in one’s noggin after only a few listens, demonstrating why Reynolds is a three-time winner of ASCAP’s Young Jazz Composer Award. The performances by Reynolds and his excellent group, featuring pianist Aaron Goldberg, bassisst Reuben Rogers and drummer Eric Harland, are utterly assured, whether locked into a deep groove or nimbly dancing around a tricky figure in shifting meters. The tunes emphasize two major aspects of Reynolds’ sound. The first is his way with a groove, epitomized by the fantastic title track, which sounds something like the classic Cannonball Adderley quintet with Joe Zawinul as remixed by Radiohead. Also irresistible is “Last Minute (Late Again),” a funky workout driven along by Rogers’ insistent bass figures that perfectly conjures up a feeling of dashing along bustling city streets. Reynolds avoids lapsing into easy soul licks here, ripping off a harmonically varied solo against great support by stick man Harland, who digs into some hot stuff himself near the end. The second batch of tunes demonstrate that Reynolds can write and play rhythmically and harmonically complex modern jazz that swings fiercely. Tops here is “First Steps,” a knotty melody over shifting meters that benefits from the strong contribution of guest guitarist Mike Moreno. Also of note is lead-off track “Common Ground,” with a great solo by Goldberg that climaxes with a flurry of harmonized arpeggios over the unusual but effectively subtle zooms of guest David Soler’s pedal steel. “Nine Lives” combines several of Reynolds’ strengths, built on a 9/4 meter that somehow manages to feel locked in and fetauring a great straightahead solo, followed by some artfully overdubbed and treated multi-sax figures. Of course, not all the tracks are equally effective: the Steely Dan-ish pop sound of “Fiction” seems a little too glib in comparison to the stronger tunes, and the synth washes and echo-treated sax of “Intro (For Tomorrow)” amount to three minutes of pointless atmospherics leading into “Last Minute.” But these are minor missteps in what is an immensely likeable, impressively written and played set of new music. Reynolds accomplishes the difficult task of incorporating funk, rock and soul touches without losing the essential swing and driving intensity of jazz. Can’t Wait For Perfect should appeal to serious jazzers, as well as listeners who come to the music from a funk or groove angle. Clearly, Bob Reynolds is someone to watch.
Bob Reynolds proves that although we can't wait for perfect, we don't have to.
author: Brad WalsethOne of the most rewarding events to a music writer is when he discovers an exciting new voice who seems poised to break through into the public consciousness: young tenor saxophonist Bob Reynolds is such a cat. Not that Reynolds doesn't already have impressive credits: he graduated summa cum laude from Berklee, has performed with a diverse range of artists such as Brian Blade and country icon Willie Nelson, and scored a couple of short films; but the 28 year old New York based saxman shows a creative boldness and maturity that is nothing short of breathtaking on his debut album "Can't Wait For Perfect" - recorded for the aptly named Freshsounds Records (the label that launched Brad Mehldau, Kurt Rosenwinkel and the Bad Plus). Reynolds playing is tough, slippery and pleasantly surprising in its twists and turns over the churning landscape, yet he can roll out the romantic yearning in deuces. Monster rhythm section Reuben Rogers on bass and Eric Harland on drums are a combustive duo who make stellar use of their moments to shine, while keyboardist Aaron Goldberg (what a band Reynolds has assembled!) is a master of supportive understatement on his piano and Rhodes: just check out his bluesy pedal tone chording on the title track. Guest guitarist Mike Moreno is featured to good effect on three songs, while in a another interesting twist - pedal steel guitarist(!) David Soler adds some expressive sonic shading. As great as all the playing is, the songs themselves are key, and highlight Reynold's impressive compositional skills. "Common Ground" opens up and Reynold's gutsy playing over the shifting 15/8 time signature signals that this is no ordinary recording, because despite the unusual structure the song and band groove! And this pattern continues throughout the entire recording with nearly too many highlights to list. Songs like "Belief," "Summer Light" and the incredible "First Steps" (in 11/8) all are impressive in both their arrangements as well as their presentation, while "Fiction" and "Last Minute(Late Again)" (featuring an explosive solo from drummer Harland) show that Reynold's years playing in a rock band haven't been wasted either. "Intro(For Tomorrow) is a nice little pedal steel and sax interlude that breaks up the pattern nicely, while the wonderful "Nine Lives" (in 9/4) has recently been covered in concert by Joshua Redman (who along with Michael Brecker have been touting the up-and- coming Reynolds). Album closer "The Escape" is a rave-up that is guaranteed to have you tapping your toes and smiling ear to ear. At times sounding like a smoother Brecker, at other times channeling the grit of the great Cannonball, Reynolds is mostly his own man, with his own voice, and it is one that is entirely listenable. With this fantastic first release, Bob Reynolds proves that although we can't wait for perfect, we don't have to.
Best Debut - 2006 Village Voice Jazz Poll
author: Tom Hull - Village VoiceRooted in funk—not swing—but reminds me of the brutish young Ben Webster.