jazzweekly.com<\/a><\/p>[\/et_pb_text][et_pb_button button_url=”https:\/\/kenneypolson.websitepro.hosting\/wp-content\/uploads\/2019\/05\/Jazz-Weekly.pdf” button_text=”PDF Download” _builder_version=”4.16″ custom_button=”on” button_text_size=”17px” button_font=”||||||||” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_button][\/et_pb_column][\/et_pb_row][\/et_pb_section]\n","protected":false},"excerpt":{"rendered":"by George W. Harris While he\u2019s posing on the cover of this album with his alto sax, Kenney Polson displays a mastery of many reeds, including bass clarinet, even some times alternating on the same tune on this smooth sailing session. His alto is warm and glowing with Tom Grant at the piano on a […]<\/p>\n","protected":false},"author":1,"featured_media":3840,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"1080","footnotes":""},"categories":[1],"tags":[],"class_list":["post-3743","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/kenneypolson.com\/index.php?rest_route=\/wp\/v2\/posts\/3743","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kenneypolson.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kenneypolson.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kenneypolson.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kenneypolson.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3743"}],"version-history":[{"count":4,"href":"https:\/\/kenneypolson.com\/index.php?rest_route=\/wp\/v2\/posts\/3743\/revisions"}],"predecessor-version":[{"id":3748,"href":"https:\/\/kenneypolson.com\/index.php?rest_route=\/wp\/v2\/posts\/3743\/revisions\/3748"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kenneypolson.com\/index.php?rest_route=\/wp\/v2\/media\/3840"}],"wp:attachment":[{"href":"https:\/\/kenneypolson.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3743"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kenneypolson.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3743"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kenneypolson.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3743"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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While he\u2019s posing on the cover of this album with his alto sax, Kenney Polson displays a mastery of many reeds, including bass clarinet, even some times alternating on the same tune on this smooth sailing session. His alto is warm and glowing with Tom Grant at the piano on a modern R&Bish take of \u201cStella By Starlight,\u201d and with legendary bassist\/vocalist Michael Henderson, the band grooves with romance on a sensuous \u201cValentine Love.\u201d His soprano sax is fun along on the doo woppy classic \u201cLa La (Means I Love You)\u201d and gets funky for his own \u201cInnocence.\u201d Larry Gittens brings a late era Miles Davis mood with his thick horn for a deeply pulsed \u201cForever Yours\u201d that has Polson on soprano sax, tenor sax, bass clarinet and even keyboards, and the leader shows his romantic soul on the hip \u201cFor Lovers Only.\u201d While the alto on the cover isn\u2019t on all the tunes, Polson\u2019s smile definitely is.<\/span><\/p>\n