Home » Jazz Articles » Album Review » Tom Kennedy: Just Play!

Tom Kennedy: Just Play!

By Dan Bilawsky
September 5, 2013
View read count

Bassist

Tom Kennedy

bass, electric
b.1960

" data-original-title="" title="">Tom Kennedy is often relegated to the back of the stage, both in literal and figurative terms. He's an in-demand sideman, well-known for his work with guitarist

Mike Stern

guitar
b.1953

" data-original-title="" title="">Mike Stern, his decades-long musical relationship with drummer

Dave Weckl

drums
b.1960

" data-original-title="" title="">Dave Weckl, and his studio work with everybody from guitarist

Lee Ritenour

guitar
b.1952

" data-original-title="" title="">Lee Ritenour to clarinetist

" data-original-title="" title="">Ken Peplowski, but he doesn't get noticed often enough in those situations; he really draws attention, however, when he takes control, as on this standards-based set.

Just Play!, Kennedy's fourth date as a leader, finds the bassist shifting effortlessly between the role of supportive force and that of standout soloist. Every number shines a light on both aspects of his work, as he steps out front for fancy finger workouts and provides propulsion from the great below; the latter skill has been his bread and butter while serving as a sideman, but the former marks him as one of the most formidable bass talents operating today.

Kennedy's in good company on this spirited outing, working with an all-star cast made up of his friends, band mates and occasional employers. Ritenour, Stern, Weckl, some heavy horn talents—like saxophonist

George Garzone

saxophone, tenor
b.1950

" data-original-title="" title="">George Garzone and trumpeter

Tim Hagans

trumpet
b.1954

" data-original-title="" title="">Tim Hagans—and pianist

Renee Rosnes

piano
b.1962

" data-original-title="" title="">Renee Rosnes mix and mingle in different scenarios during this journey through the well-known.

The core trio of Kennedy, Rosnes and Weckl serves as the backbone of the album. They exhibit a springy, swinging sense of style when left alone, as on a bright trio take of "In Your Own Sweet Way," but they also lay the foundation for larger gatherings, like the horn-heavy "The Night Has A Thousand Eyes." The most memorable solos also tend to come from these three, though Garzone gives them a run for their money; his sparring session with Weckl ("What Is This Thing Called Love") and classy stroll through Ellingtonian territory ("In A Sentimental Mood") are standouts.

Charlie Parker

saxophone, alto
1920 - 1955

" data-original-title="" title="">Charlie Parker once said, "Master your instrument, master the music, and then forget all that bullshit and just play." Kennedy took that bit of advice to heart in putting this program together and naming it. As a guiding philosophy, it serves him very well here.

Learn more about our star rating system

Track Listing

Airegin; Moanin'; The Night Has A Thousand Eyes; Ceora; One Liners; In A Sentimental Mood; Bolivia; In Your Own Sweet Way; What Is This Thing Called Love.

Personnel

Tom Kennedy

bass, electric

Tom Kennedy: acoustic bass; Dave Weckl: drums; Renee Rosnes: piano; George Garzone: tenor saxophone; Mike Stern: guitar; Tim Hagans: trumpet; Lee Ritenour: guitar; John Allred: trombone; Steve Wirts: tenor saxophone.

Album information

Title: Just Play! | Year Released: 2013 | Record Label: Capri Records

PREVIOUS / NEXT

Take Five With Snow Owl
< Previous

Christian Scott at Charlie Parker Ja...
Next >

Support All About Jazz

All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

Go Ad Free!

To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.