On this brilliant debut, bassist Kenny Wright illustrates that it's possible to keep the bandleader's instrument out of the foreground (talk about a resigned ego), while at he same time making sure that the groove is the most important thing. In other words, you'd expect a bassist to showcase his slap and pluck prowess above all else; melody and ensemble instrumentation taking a back seat to his Kincaid Custom thump.
But on Fresh Focus, Wright's rhythmic dimensions (along with drummer Larry Bright's thunderous patterns) are the propulsive fuel for an arsenal of titan-size jazz rockets such as guitarist Carl Filipiak, alto/soprano sax master Hassan Sabre, pianist Charlie Etzel, and better than a half-dozen other masterful instrumentalists.
The basslines are intricate, but never overpowering, and Wright's flair for composition turns a studio full of soloists into an opportunity for musical expansion of harmonic boundaries. What a surprise that it takes a bass player to put together a disc of grooves that not only provides solid support for soloists, but also holds your interest.
In fact, it's not until the disc's fifth tract, the aptly-titled "A Bass Thing", that we get a free-form-feeling taste of a four-string practice session. It is here, and only here, that Wright worries more about virtuosity that melodicism.
Prior to (and following) "Thing", the listener is swayed, swung, improv'd, and impressed by a dazzlingly sophisticated platform. The gentle, relaxing pace of "Angela" evokes a film noir ambiance with Sabre's soprano sax curling around it like a late night fog. "Krystal" launches from a free-form intro, and the combo's stretch out finds sharp guitar shards trading salvos with a busy pair of piano hands. "The Waterbearer Revisited" percolates with reckless abandon, changing gears (and time signatures) like a Nine-Eleven on the Autobahn. The tune's tempo is bent back on itself as heavenly celeste tinkling ricochets off of vigorous piano lines and a downright rockin' guitar riff.
Fresh Focus simply touches all the bases. Other Tracks, such as "Kymberlie's Promise" and "The Line-Up", are equally varied and just as rewarding. "Kymberlie's Promise" never fully delivers on its Latin promise, but delivers enough seasoning for a spicy whiff. "The Line-Up" hints at a full-fledged jam session, but avoids being chaotic thanks to the horn section coming together over the funky rhythm strut. A quick shift to a walking ramble, piano and percussion at the front, and the original melody line slides back in as gracefully as if it's never been away.
Throw in the funky lean of "Belushi" and the supper-club fare of "Blue Tuesday", and this set is quite simply a well-rounded, aural delight.
When bassist/composer Kenny Wright aspires to the promise of this album's title, Fresh Focus, the resulting songs are like odd-shaped pieces of a puzzle which should fit, but don't. His the "The Waterbearer Revisited" achieves just that in an off-timed blaze of running hi-hat percussion and piano. "Five or Six" is a funky alto and tenor sex duet which finds its groove by way of an unusual, fragmented Carl Filipiak guitar solo.
Though much of the album consists of more straightforward mid-tempo selections, these gems, as well as the stacatto bass exploration "A Bass Thing" and the multi-tiered "The Line-Up" show that this talented composer has the potential for much more.
Another record featuring the efforts of Larry Bright, this time working with bassist Kenny Wright on his solo album. This record has a jazzier tone due in large part because of the predominant use of the saxophone and the softer, rounder approach the guitar takes on several of the numbers. Like any good musician, Larry's playing directly reflects his musical surroundings, and here he relies on light cymbal work and airy snare work to complement the rainy-day feel of a lot of the tunes. The opener, "Angela", is one of the prettiest tunes you'll ever hear, and Larry gets a chance to rip on the final cut "The Line-Up".
Let me start off by saying that my review of bassist Kenny Wright's CD was not swayed in the least by the fact that Kenny looks like he could kick my butt without even breaking a sweat. (He's one ominous looking cat!) Luckily, Kenny's groove is as big as he is, and the songs on this release were all well-written and the performances were all solid.
As far as a bass solo album goes, this sure didn't sound like one. We have grown to expect bass solo albums to open with a furious slap tune and then continue with bass solo after bass solo, but Kenny's approach to this album was from more of a compositional standpoint. When Kenny does step into the spotlight for a solo, he plays with a nice melodic style and avoids the now-cliché tapping and slapping riffs that seem to pervade other bass solo albums. Check out his solos on "You Can Fly" and "Revelation" to see what I mean.
There is one track where Kenny plays the roll of bass soloist. It is the aptly named "A Bass Thing Tapped + Percussion". Unfortunately, Kenny's tapping is a bit timid and hard to hear. Truth be told, I think that the disc could have been released without that cut. My only other suggestion to Mr. Wright is that he should have been more careful in choosing the order for the tracks to appear on the CD. The three longest songs are grouped together in the middle of the CD, which made the CD seem to drag at that time.
Another aspect that most bass solo albums ignore, but Kenny doesn't, is vocals. It sure helps to make the entire disc have more depth when you put one or two vocal tunes on it.
I liked this CD and would recommend it to bassist of all styles.
A sometimes adventurous independent production, The Kenny Wright Experience's Comin' At Ya hits hardest in its quirky moments. These also happen to be moments featuring the singing bass work of bandleader/producer Wright, who for much of the album, proves far too modest in his prominence level. Album opener "1964", for example, has an easy, lilting gait, which would have been enhanced by a greater bass presence. Other selections (including "You Can Fly", which could do without the Donna Summer "Bad Girls" whistles), come across as thin and reedy due to the same lack of low-end resonance. Previously mentioned highlights include "Far Side of the Moon", with its knuckly ball percussion and "Through the Mist", which swings into a neat waltz quality on the strength of Wright's bass work. Wright's technical skills and timing instincts are well demonstrated. He needs only to let them shine through.
You can write to Kenny at kennywright77@hotmail.com.
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