Bob Reynolds - Quartet (May 15, 2018)

Tenor-saxophonist Bob Reynolds has uplifted many sessions through the years including working with Snarky Puppy (with whom he recently won a Grammy), John Mayer, and as the leader of eight previous CDs. However he considers the ensemble featured on Quartet to be his first regular band. “It’s not just a few guys playing a gig or an all-star group. This four-piece unit has played together for a couple of years—including a monthly residency at Los Angeles’ famed Baked Potato jazz club—and we’ll soon be touring Europe and the UK. “Things have been really progressing and I wanted to capture our chemistry on recording. This is the first time I’ve led a group that reached this level.”

Bob first met bassist Janek Gwizdala 20 years ago when they both attended the Berklee College Of Music. “He’s long been one of my closest friends. Regardless of who else might be in a group, when he is on bass, I’m not the slightest bit worried. Janek is not only an incredible player but our conceptions match up very well and he really knows my music.” Reynolds met drummer Chaun Horton ten years ago after moving to Los Angeles. “I love Chaun’s dynamic range, enthusiasm and ideas. He can be a ferocious drummer but also be extremely sensitive and quiet.” The saxophonist has often worked with pianist-keyboardist Ruslan Sirota during the past five years. “Ruslan is also a very sensitive player, giving the music whatever it calls for. These three guys can practically read my mind and always seem to know what I want out of the music.” 

Proof of that statement can be seen in the fact that all of the performances on Quartet were recorded in one day, partly before a live studio audience. The program begins with “Crush,” a melodic tune that seems simple but packs a lot of power as it builds. Note how Reynolds’ final solo phrase is joined spontaneously by Sirota, creating a gentle transition into his piano solo. The music is both thoughtful and full of inner tension. 

“Down South” has a catchy melody, an infectious groove that one could imagine Stanley Turrentine enjoying, a surprise quote of “Eleanor Rigby,” and an adventurous piano solo by Sirota that reminds Reynolds a bit of Lyle Mays’ playing with the Pat Metheny Group. 

“Hollywood Startup” could be a soundtrack to a silent film about a hopeful moving to Los Angeles with the dream of becoming a star. “It has hope, struggle, and a quiet acceptance at its end, as if things do not work out as one had hoped...but it’s okay.” The tenor’s heartfelt long tones and the active rhythm section combine together to create an atmospheric work about a journey through life. 

“Sway” is a medium-slow soulful strut that has Sirota creating an organ sound from his keyboard that adds to the sensuality of this rendition. “This one is what we call an adult tempo. It’s not easy to pull off a groove at this tempo because it’s easy to overplay. But these guys nail it.” 

“Hush” received its name because it was originally a ballad but, ironically, this rendition recasts it as a medium-tempo high-energy piece. Reynolds takes one of his most expressive and swinging solos of the set. 

“Stray Voltage” is a real change-of-pace, a free improvisation performed live in the studio before an audience. It blends together electronic sounds with acoustic instruments; Reynolds uses a delay pedal, and Gwizdala employs a slide to make his electric bass sound like a guitar. The quartet is so attuned to each other that it sounds as if it were worked out in advance even though the musicians had no idea what they were going to play beforehand. 

“Resistance,” a ballad worthy of John Coltrane, builds in intensity while it progresses. Quartet concludes with “Closer,” a performance that begins as a whisper before building to a final climax. 

Bob Reynolds, who grew up in Jacksonville, Florida, started on the alto before switching to tenor three years later. Early on he discovered Joshua Redman and Chris Potter who he still considers his biggest influences. After earning a degree from Berklee College of Music, he moved to New York and gained important experience working five years with singer-songwriter Jonah Smith and six with John Mayer. “That is some of my favorite work I’ve done. I love finding ways to fit into a band without being just the soloist, but using the saxophone in a supportive way.” He has also been an important part of Snarky Puppy during the past five years while developing his solo career. 

Beyond his playing and composing, Reynolds is continually busy. He has been happily married for 12 years and has a six-year old daughter and a two-year old son. He runs an online school with hundreds of students around the world, produces recordings, classes and coaching through his Virtual Studio and has created over 140 vlog episodes on his YouTube channel, which has over 40,000 subscribers. 

“It’s my never-ending goal to continue growing as an instrumentalist and a composer, and to create meaningful music that will reach and move listeners.” Quartet shows he is succeeding. 

Scott Yanow, jazz journalist/historian and author of 11 books including The Great Jazz Guitarists, Jazz On Film and Jazz On Record 1917-76

1. Crush

2. Down South

3. Hollywood Startup

4. Sway

5. Hush

6. Stray Voltage

7. Resistance

8. Closer

Bob Reynolds - tenor saxophone

Ruslan Sirota - piano, keyboard

Janek Gwizdala - bass

Chaun Horton - drums

Bob Reynolds - Hindsight (2017)

Bob Reynolds is an impressive tenor-saxophonist with an original tone who has gained fame for his work with Snarky Puppy and John Mayer. Hindsight is his seventh CD as a leader and his first studio album leading a classic jazz quartet. 

Reynolds was born in Morristown, New Jersey and spent much of his childhood growing up in Jacksonville, Florida. While he was originally interested in film music and becoming a director, once he started playing the alto sax in junior high school (three years later switching to tenor), he became devoted to becoming a musician. Reynolds gained experience playing with much older musicians in the Beaches Preservation Swing Band, worked locally, and earned a degree from Berklee where he had influential lessons from Hal Crook and George Garzone. After moving to New York he performed in a wide variety of styles with many groups including five years with singer-songwriter Jonah Smith and six on which he toured the world with John Mayer. Bob Reynolds, who moved to Los Angeles in 2008, has in recent years been playing, touring and recording with Snarky Puppy; he is featured on We Like It Here. 

“My agenda for the CD,” says the saxophonist, “was to use a traditional tenor-piano-acoustic bass-drums quartet and create some unexpected colors and sounds. I sought to create the illusion that this is a larger band than it actually is, as if there were (sometimes) a vocalist and a soloist.” The music on Hindsight was recorded a few years ago. “We recorded too much material,” he admits, “and these performances were put aside until I recently rediscovered them and immediately knew they had to be released.” 

Bob Reynolds met pianist Aaron Goldberg when he was attending Berklee. After moving to New York, Joshua Redman re-introduced them at a rehearsal. “Aaron was always very encouraging to me, liked my songs, and was an early mentor of mine. He is one of my favorite piano players, so swinging and such fun to play with. Through him I met bassist Reuben Rogers. Both of those guys have so much joy in their playing in addition to their incredible command of their instruments. They make everyone else play better. At the time of this recording, I was playing with drummer Obed Calvaire in two different bands; he fit in perfectly with Aaron and Reuben. I gravitate towards players who are really steeped in the tradition of blues, swing and bebop and yet are not stuck there, also equally loving funk, soul and r&b. These three musicians are very flexible and have deep vocabularies, but always serve the music.” 

Throughout the seven Bob Reynolds originals that comprise Hindsight, the music is difficult to classify as anything but modern open-minded jazz. “Ready Set” sets the stage for the rest of the CD. It is a relaxed piece that has a soulful groove, a lot of space, and is notable for the interaction of the four players with Reynolds and Goldberg often trading off ideas. In contrast, “Step Aside” is a powerhouse tune that has a fiery tenor solo and an infectious piano section over the heated rhythm section. The music is both creative and funky. 

“When It’s Over” features another side of Bob Reynolds. “At the time I wrote this, I was touring with John Mayer. I love playing with singers and I enjoy getting to be the soloist inside a pop song. On this ballad, I function as both the vocalist singing the melody and then the soloist.” The somber piece builds up gradually and has Reynolds sometimes recalling the always-soulful Stanley Turrentine in his solo. 

The introspective “Swedish Blues,” which was written at 3:30 in the morning in a cold hotel room in Chicago, evokes long dark nights and picturesque dreams. The leader displays a haunting tone that perfectly fits the mood of this piece. 

“Fight Or Flight,” was originally composed for a dance company featuring piano and oboe. “But after we played it a bit as a band, it became a mini-epic.” The dramatic music, which could work well as a television theme song, is quite cinematic and features Bob Reynolds’ tenor playing at its most passionate. 

“Silver Lining” is a melancholy ballad which the quartet interprets with quiet but emotional intensity and admirable self-restraint. Reynolds and his musicians caress every note during this mournful piece which also expresses a bit of hope during its closing section. 

Hindsight concludes with the energetic “Late In The Game,” a high-energy performance that has the feel of a rock song but is played with the sophistication of the top jazz artists. It makes for an exciting closer to the memorable set. 

Throughout this program, Bob Reynolds succeeds at integrating jazz and improvisation with the pop and rock grooves that have long attracted him, blending together aspects of r&b, soul and rock in his classic jazz quartet. Hindsight is a recording that rewards repeated listenings and ranks as one of his strongest and most rewarding recordings to date. 

—Scott Yanow, jazz journalist/historian and author of 11 books including The Great Jazz Guitarists, Jazz On Film and Jazz On Record 1917-76. 

1. Ready, Set 03:34

2. Step Aside 07:10

3. When It's Over 07:55

4. Swedish Blues 05:23

5. Fight or Flight 04:17

6. Silver Lining 07:05

7. Late In The Game 05:14

Bob Reynolds - tenor saxophone

Aaron Goldberg - piano

Reuben Rogers - bass

Obed Calvaire - drums

All songs by Bob Reynolds (Mufala Music, ASCAP)

Produced by Bob Reynolds

Recorded by Michael Brorby at Acoustic Recording, Brooklyn, NY, January 2008

Mixed by Juan Pablo Alcaro

Mastered by Scott Kinsey

Art & design by Jonas Bostrøm

Bob Reynolds - Guitar Band (2017)

I had a night booked at The Blue Whale—a killer jazz club in Los Angeles—but hadn’t yet selected a band. While touring with Snarky Puppy, I got talking with Mark and Sput about NAMM (a music convention held each January, south of Los Angeles). They were both going to be in town for it so I asked them to join me at the Whale. Then I asked Kaveh (bassist in Kneebody, among other bands). We'd performed together recently and I was looking for an excuse to play again. Then I found out Nir (who I'd been playing with for awhile) was going to be in town from New York. Perfect! This was my chance to experiment with a two-guitar band. 

Ever since playing in John Mayer’s band, I’d wanted to lead a guitar-based group. John had three guitarists (including himself) in his touring band. This meant a lush cushion of guitar-y goodness enveloped every solo I played. Imagine the best mattress and pillow combination you’ve ever experienced. It feels like that. But of course, it’s not just the guitar. It’s the player. 

Excited by the idea of this group, I decided to borrow a page from the Snarky Puppy playbook and film it. There was one catch: we had no time to rehearse, and barely a sound check. I’d played with each of these guys in different scenarios, but never as a unit. So we set up in a circle, surrounded by an audience and five cameras, and played these tunes together for the first time. No pressure! I thought we might get two or three good videos out of it. We got more. Alex Chaloff and his team captured not only gorgeous video but stunning audio. When I heard the result I realized this needed to be its own album. So here it is. Live. Raw. Filled with an energy that comes only from tight-rope walking in front of an audience. My younger self would hear only the “mistakes.” My current-age-self hears the magic. I hope you hear it, too. 

Bob Reynolds

1.Unlucky 

2.Blues For Charlie

3.Crush

4.Mulholland

5.Down South

6.Can't Wait For Perfect

Bob Reynolds — tenor saxophone

Nir Felder — electric guitar

Mark Lettieri — electric guitar

Kaveh Rastegar — electric bass guitar

Robert “Sput” Searight — drums

Recorded live at The Blue Whale, Los Angeles, CA, on January 21, 2016. 

Recorded and mixed by Alex Chaloff & Bucket’s Moving Company. 

Mastered by Scott Kinsey. 

All songs by Bob Reynolds, Mufala Music, ASCAP. 

Special thanks to Nir, Mark, Kaveh, and Sput for their brilliant musicianship (and willingness to cliff dive with me in front of an audience, cameras, and microphones). Thanks to Joon Lee for the incredible music club you’ve built and sustained in LA. Thanks to Alex & team for the phenomenal job capturing it all in such high definition.