Robert Kennedy has an interesting story: by day he works for Google; by night he is an organist in the San Francisco jazz scene. Though it is not unusual for musicians to have two careers these days, as let's face it, musicians are still being paid rates from the '70s for playing music. Kennedy hails originally from the southeastern region, so by influence the rich history of jazz is in his bones. It was his time at Stanford University that first cut his teeth in 1988, playing piano in the Stanford University Jazz Band and studying jazz piano with the great jazz pianist, band director, and educator Bill Bell. This experience would set Kennedy on his path of discovery and the richly hued Hammond organ.
His debut album Big Shoes (Robert Kennedy Trio, 2015) introduced the jazz aficionado to this burgeoning talent, and now with Closer to Home Kennedy takes a bounding step forward, featuring ten tunes by different composers, including "Come On, Come In" from his own pen.
"Come On, Come In" is a sophisticated melodic tune, featuring Terrence Brewer on guitar who takes a colorful legato solo, and nicely sets up the passage for saxophonist Ben Torres who weighs in on this tune, with his warmly toned horn, that exudes a complex carbonation of flurried notes, punctuated by drummer Cody Rhodes. Kennedy is cool and relaxed and his nimble fingers glide across the keys for an inspired and erudite listen. The melody is memorable and lingers, which is certainly what one looks for in an original tune. Another tune that stood out with brilliance on the album was written by saxophonist Anton Schwartz. The tune is a greasy funky-organ song aptly titled "Alligator Strut," that lives up to its 400 pounds of organ goldmine. Taking the final slot on the album it has all the elements one looks for as a closing tune. The bluesy funkified swing is infectious and percolates with well-oiled solo sections. The tune is funky and accessible, all the elements that make organ ensembles memorable. Torres once again is highlighted on this track, and he serves it up with a modernized solo that builds on motifs and frankly, cooks.
Kennedy has a style that oozes with polished confidence and a gutbucket, down-home vibe to his playing style, that surely is based in his American South roots. The authenticity of his playing is slow, low and righteous. Joined by a band of San Francisco brothers, Closer to Home is a pleasing date that flat out is a great listen from top to bottom with a firmly rooted 60s sound.
By Geannine Reid
June 20, 2018
https://www.allaboutjazz.com/closer-to-home-robert-kennedy-self-produced-review-by-geannine-reid
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Robert Kennedy tiene una historia interesante: de día trabaja para Google; de noche es organista en la escena del jazz de San Francisco. Aunque no es raro que los músicos tengan dos carreras hoy en día, ya que, admitámoslo, los músicos siguen cobrando tarifas de los años 70 por tocar música. Kennedy es originario de la región del sureste, así que por influencia la rica historia del jazz está en sus huesos. Fue su estancia en la Universidad de Stanford la primera que le sirvió para afianzarse, en 1988, tocando el piano en la Stanford University Jazz Band y estudiando piano de jazz con el gran pianista de jazz, director de banda y educador Bill Bell. Esta experiencia pondría a Kennedy en el camino del descubrimiento y del órgano Hammond de gran riqueza.
Su álbum de debut Big Shoes (Robert Kennedy Trio, 2015) introdujo al aficionado al jazz a este floreciente talento, y ahora con Closer to Home Kennedy da un paso de gigante, presentando diez temas de diferentes compositores, incluyendo "Come On, Come In" de su propia pluma.
"Come On, Come In" es un tema melódico y sofisticado, con Terrence Brewer a la guitarra, que hace un colorido solo de legato, y prepara muy bien el pasaje para el saxofonista Ben Torres, que interviene en este tema, con su trompa de tono cálido, que desprende una compleja carbonatación de notas revueltas, puntuadas por el baterista Cody Rhodes. Kennedy está fresco y relajado y sus ágiles dedos se deslizan por las teclas para una escucha inspirada y erudita. La melodía es memorable y perdura, que es sin duda lo que uno busca en una melodía original. Otra melodía que destacó con brillantez en el álbum fue escrita por el saxofonista Anton Schwartz. Se trata de un tema de órgano funky grasiento titulado acertadamente "Alligator Strut", que está a la altura de sus 400 libras de mina de oro de órgano. Ocupando el último lugar del álbum, tiene todos los elementos que uno busca como melodía de cierre. El swing funkificado del blues es contagioso y se filtra con secciones solistas bien engrasadas. La melodía es funky y accesible, todos los elementos que hacen que los conjuntos de órgano sean memorables. Torres vuelve a destacar en este tema, y lo sirve con un solo modernizado que construye sobre motivos y, francamente, cocina.
Kennedy tiene un estilo que rezuma una confianza pulida y una vibración casera en su forma de tocar, que seguramente se basa en sus raíces del sur de Estados Unidos. La autenticidad de su forma de tocar es lenta, baja y justa. Acompañado por una banda de hermanos de San Francisco, Closer to Home es una cita agradable que, de plano, es una gran escucha de arriba a abajo con un sonido de los 60 firmemente arraigado.
Por Geannine Reid
20 de junio de 2018
https://www.allaboutjazz.com/closer-to-home-robert-kennedy-self-produced-review-by-geannine-reid
robertkennedymusic.com ...
1 - Wild Bill
2 - Dat Dere
3 - Robert's Reflection
4 - Come On, Come In
5 - Do You Know a Good Thing (When You See One)?
6 - Sista Rissy
7 - Rakin' and Scrapin'
8 - Carrot Cake
9 - Sandu
10 - Alligator Strut
Credits:
Robert Kennedy: Hammond B-3 organ;
Terrence Brewer: guitar;
Ben Torres: tenor saxophone (1, 3, 4, 5, 6, 8, 10);
Cody Rhodes: drums.
Release Date: January 12, 2018
Duration: 01:03:17
Genre: Jazz
Recording Date:July 8, 2017 - September, 2017
Recording Location: Ten Ones Studio, San Francisico
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