Kenney Polson is reviewed by Take Effect with “Colors of Brazil”

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Colors Of Brazil

Rosetta, 2021


Listen to Colors Of Brazil

A West Coast jazz saxophonist, Kenney Polson integrates his time in Brazil into his jazz formula, where plenty of help and atypical instruments are on hand across this cultured and textured affair.

The album leads with “Aquarela do Brazil (Colors Of Brazil)”, where Polson’s colorful sax is complemented by Noah Simpson’s trumpet and Kyle Molitor’s trombone, among many others, as breezy melodies soar in the warm landscape, and “Hipnotizado (Mesmerized)” follows with furious drumming from Cidinho Moreira as Polson’s acrobatic alto sax doesn’t disappoint.

As we enter the middle, “Flor de Lis (Lily Flower)” is nothing short of beautiful, where a pair of kotos from Mitsuki Dazai and Dr. Osamu Kitajima adds much grace, while “Mariana” benefits greatly from Marinho Boffa’s keys and Nico Assumpcao’s playfully plucked bass. “Passeio de Bicicleta (Bicycle Ride)”, a very noteworthy track, then gets busy and lush with Alessandre Carvalho’s precise guitar bringing much to the rhythmic highlight.

The final tracks include “Obsessao (Obession)”, which has Polson holding down soprano sax, clarinet and bass clarinet with much expertise as Federico Pena tosses in a glorious piano solo, and “Luz do Sol (Sun Light)”, where a sublime and dreamy climate thanks to Chuk Barber’s percussion, Dan Balmer’s guitar work and, of course, Polson’s sax finish the record on a very high note.

Polson’s unique vision and embracing of harp, koto, vibraphone, and a nGnoni, to name a few, places his jazz template into an unclassifiable category that’s rich with creativity and flowing with fascinating musicianship on Colors Of Brazil.

Travels well with: David Larsen- The Mulligan Chronicles; Lyle WorkmanUncommon Measures

Kari Gaffney

Kari Gaffney

Since 1988 Kari-On Productions has helped artists get an even footing in the industry through jazz promotion in the genres of Jazz, World & Latin Jazz through Jazz Radio and Publicity. Why do we do both, because they compliment each other, and we care about fiscal longevity for the artist.

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