“Irresistible…leaves one wanting more.”
– JAZZTIMES MAGAZINE
“A self-assured saxophonist and an unassuming yet effective composer…”
– THE NEW YORK TIMES
“Best Debut – 2006 Jazz Poll”
– THE VILLAGE VOICE
“Some of the freshest, most compelling, and most soulful music I have heard recently. Bob Reynolds is an amazing musician, with something very exciting and original to say.”
– JOSHUA REDMAN
“Bob is one hell of a saxophonist! His sound is rich and his execution is seemingly effortless.”
– MICHAEL BRECKER
“By far one of the most impressive CDs to debut this year.”
– ABYSS JAZZ MAGAZINE
“The CD title is ironic, since the execution is largely faultless…”
– DOWNBEAT MAGAZINE
“Sounds something like the classic Cannonball Adderley quintet with Joe Zawinul as remixed by Radiohead.”
– ALL ABOUT JAZZ
“First-rate…An impressive debut…”
– ALLMUSIC GUIDE

The New York Times

by Nate Chinen | March 31, 2006

Mr. Reynolds is a self-assured tenor saxophonist and an unassuming yet effective composer, as he proves on “Can’t Wait for Perfect” (Fresh Sound New Talent), a sturdy new debut.

JazzTimes Magazine

by Forrest Dylan Bryant | March, 2007

Bob Reynolds’ first full-length studio release is a fine collection of soulful contemporary jazz. Reynolds’ sleek tenor sax joins with the Aaron Goldberg trio on most tracks, with a relaxed Goldberg on piano, solid bass work from Reuben Rogers and Eric Harland adding urgency at the drums. Although the disc draws much from R&B, the band’s bop chops are undeniable, and these are thoroughly woven into the fabric of Reynolds’ music. It’s all quality, but perhaps Reynolds should loosen up more often: “Last Minute (Late Again)” is pure blowing—an irresistible, stripped-down funk romp that leaves one wanting more.

Village Voice

Tom Hull | December 26th, 2006

Best Debut – 2006 Village Voice Jazz Poll

Rooted in funk—not swing—but reminds me of the brutish young Ben Webster.

Downbeat Magazine

by Michael Jackson | September Issue, 2006

Bob Reynolds is ripe for assassination by the old guard as indicative of the latest breed of Berklee whiz kid, confident on his horn with sure knowledge of contemporary compositional conceits. Michael Brecker and Joshua Redman have endorsed Reynolds and the resemblance to Redman is particularly obvious, notably on the final two cuts — the bluesy, upwardly mobile drive and bruisy tone.

Reynolds’ tunes frame his blowing while giving the band its guidelines. “Common Ground” begins with a unison line with guitarist Mike Moreno nudged on by Eric Harland’s choppy stick work; pianist Aaron Goldberg uncorks a sparkling two-handed solo, full of nice ideas. The vamp ending gives Harland a chance to splash about.

The CD title is ironic, since the execution is largely faultless, indicating Reynolds’ perfectionist streak yolked to impatient energy. Bassist Reuben Rogers opens the title track, and offers a Charles Mingus-like thrust. “Nine Lives” balances groove elements, and this cut, along with several others, could compete in the realm of commercial jazz radio.

Jazzman Magazine

4 stars | November, 2006

In the line of american saxophonists, who have surmounted post-coltranian complexities, in order to fully assume the heritage they must with regard to funk and soul music, one can line up names such as Dave Sanborn, Kenny Garret or Chris Potter. It’s necessary from this day forward to add to this list the name of this new talent from the New York style scene, who with his first album, enters by the front door with a very american jazz. But the person whom this person is closest to is Joshua Redman, for whom he has, moreover, already composed in the past (Nine Lives), and of which the Elastic Band is an evident influence. The saxophonist uses a “straight” passage far from anything cerebral, which inclines into a sure groove outside the ordinary, and of which the funky spirit is in every respect meaningful, almost dancing, always irresistable. (Last Minute) A powerful passage with a clean and incisive phrase, with some chorus, using a lyricism incandescent with energy, (Summer Light) but always under control, sustained by the rhythmic pulse of Eric Harland and with Reuben Rogers. Mike Moreno comes in on three titles.

Inside Connection

by Steve Caputo | November 2, 2006

Bob Reynolds’ new release, Can’t Wait for Perfect, had me thinking, can’t wait for next release. Reynolds, a new young lion to the jazz scene, is a tenor player who exhibits phenomenal technique and composition skills. With a lineup that includes Aaron Goldberg on piano, Reuben Rogers on bass, Eric Harland on drums, Mike Moreno on guitar and David Soler on pedal steel guitar, this recording flat-out delivers the goods. Each track has a clear identity and shows why Reynolds will be a musician/composer that we will be hearing from in the years to come.

“Common Ground” and “Belief” are a lesson in ensemble composition. The movement of the arrangements grabs the listener right in. Reuben Rogers and bandmates pull out all the stops on the title track and also shine on “Fiction” and “Last Minute.”

Bob Reynolds has the ability to make one feel extremely optimistic about the current state of modern jazz composition. He structures the arrangements in such a way that each track has you anticipating the next. There is no weak link on the recording. The musicianship and recording quality clearly hold the position of one of the year?s top releases in the jazz genre.

If the world of jazz wants to hold up their end of the bargain about supporting the art form, do not let Bob Reynolds go by the wayside. He walks the walk!

JazzChicago.net

by Brad Walseth | September 6, 2006

One of the most rewarding events to a music writer is when he discovers an exciting new voice who seems poised to break through into the public consciousness: young tenor saxophonist Bob Reynolds is such a cat.

Not that Reynolds doesn’t already have impressive credits: he graduated summa cum laude from Berklee, has performed with a diverse range of artists such as Brian Blade and country icon Willie Nelson, and scored a couple of short films; but the 28 year old New York based saxman shows a creative boldness and maturity that is nothing short of breathtaking on his debut album “Can’t Wait For Perfect” – recorded for the aptly named Freshsounds Records (the label that launched Brad Mehldau, Kurt Rosenwinkel and the Bad Plus).

Reynolds playing is tough, slippery and pleasantly surprising in its twists and turns over the churning landscape, yet he can roll out the romantic yearning in deuces. Monster rhythm section Reuben Rogers on bass and Eric Harland on drums are a combustive duo who make stellar use of their moments to shine, while keyboardist Aaron Goldberg (what a band Reynolds has assembled!) is a master of supportive understatement on his piano and Rhodes: just check out his bluesy pedal tone chording on the title track. Guest guitarist Mike Moreno is featured to good effect on three songs, while in a another interesting twist – pedal steel guitarist(!) David Soler adds some expressive sonic shading.

As great as all the playing is, the songs themselves are key, and highlight Reynold’s impressive compositional skills. “Common Ground” opens up and Reynold’s gutsy playing over the shifting 15/8 time signature signals that this is no ordinary recording, because despite the unusual structure the song and band groove! And this pattern continues throughout the entire recording with nearly too many highlights to list.

Songs like “Belief,” “Summer Light” and the incredible “First Steps” (in 11/8) all are impressive in both their arrangements as well as their presentation, while “Fiction” and “Last Minute(Late Again)” (featuring an explosive solo from drummer Harland) show that Reynold’s years playing in a rock band haven’t been wasted either. “Intro(For Tomorrow) is a nice little pedal steel and sax interlude that breaks up the pattern nicely, while the wonderful “Nine Lives” (in 9/4) has recently been covered in concert by Joshua Redman (who along with Michael Brecker have been touting the up-and- coming Reynolds). Album closer “The Escape” is a rave-up that is guaranteed to have you tapping your toes and smiling ear to ear.

At times sounding like a smoother Brecker, at other times channeling the grit of the great Cannonball, Reynolds is mostly his own man, with his own voice, and it is one that is entirely listenable. With this fantastic first release, Bob Reynolds proves that although we can’t wait for perfect, we don’t have to.

ABYSSJazz

September 6, 2006

Stop The Presses! I think we’ve got a hot one. Bob Reynolds, 28-year-old saxophonist and composer, introduces his robust and full body flavor to the game of jazz. Can’t Wait For Perfect, Reynolds’ Talent Records Debut, is by far one of the most impressive, CDs to debut this year. I think this cat will not only demand your attention and hold you till he decides to let go, but will set the perfect mood for any stimulating social gathering circulating an energy that won’t go unnoticed.

Can’t Wait For Perfect features 10 stunning original compositions, not to mention, an awesome band comprised of some of the finest young players in jazz today. In my opinion, if Reynolds couldn’t wait for perfection, he didn’t have to; Perfection found him!

AllAboutJazz.com

By Joshua Weiner | August, 2006

The sheer quality of so much of the music performed by (relatively) unknown up-and-coming musicians is gratifying, for obvious reasons, but it can also be troubling. It is difficult to escape the realization that too many of these musicians will ultimately fail to get the attention they deserve.

How nice it is, then, to hear Bob Reynolds, a gifted young saxophonist and composer whose record Can’t Wait For Perfect is already garnering raves from no less than the likes of Joshua Redman and Michael Brecker. The ten compositions on this release become firmly lodged in one’s noggin after only a few listens, demonstrating why Reynolds is a three-time winner of ASCAP’s Young Jazz Composer Award. The performances by Reynolds and his excellent group, featuring pianist Aaron Goldberg, bassisst Reuben Rogers and drummer Eric Harland, are utterly assured, whether locked into a deep groove or nimbly dancing around a tricky figure in shifting meters.

The tunes emphasize two major aspects of Reynolds’ sound. The first is his way with a groove, epitomized by the fantastic title track, which sounds something like the classic Cannonball Adderley quintet with Joe Zawinul as remixed by Radiohead. Also irresistible is “Last Minute (Late Again),” a funky workout driven along by Rogers’ insistent bass figures that perfectly conjures up a feeling of dashing along bustling city streets. Reynolds avoids lapsing into easy soul licks here, ripping off a harmonically varied solo against great support by stick man Harland, who digs into some hot stuff himself near the end.

The second batch of tunes demonstrate that Reynolds can write and play rhythmically and harmonically complex modern jazz that swings fiercely. Tops here is “First Steps,” a knotty melody over shifting meters that benefits from the strong contribution of guest guitarist Mike Moreno. Also of note is lead-off track “Common Ground,” with a great solo by Goldberg that climaxes with a flurry of harmonized arpeggios over the unusual but effectively subtle zooms of guest David Soler’s pedal steel. “Nine Lives” combines several of Reynolds’ strengths, built on a 9/4 meter that somehow manages to feel locked in and fetauring a great straightahead solo, followed by some artfully overdubbed and treated multi-sax figures.

Of course, not all the tracks are equally effective: the Steely Dan-ish pop sound of “Fiction” seems a little too glib in comparison to the stronger tunes, and the synth washes and echo-treated sax of “Intro (For Tomorrow)” amount to three minutes of pointless atmospherics leading into “Last Minute.” But these are minor missteps in what is an immensely likeable, impressively written and played set of new music.

Reynolds accomplishes the difficult task of incorporating funk, rock and soul touches without losing the essential swing and driving intensity of jazz. Can’t Wait For Perfect should appeal to serious jazzers, as well as listeners who come to the music from a funk or groove angle. Clearly, Bob Reynolds is someone to watch.

JazzReview.com

by Glenn Astarita | August 10, 2006

Saxophonist Bob Reynolds conveys musical maturity beyond his years during the preponderance of this irrefutably, compelling studio set. With a clear-sighted game-plan intact, the artist infuses memorably melodic hooks into his compositional style. In essence, he demonstrates astute leadership qualities here throughout the preponderance of these attractive pieces.

Armed with an edgy tone, Reynolds pushes and prods his band via lyrically-charged soloing maneuvers in alliance with his quintet’s multi-layered harmonic textures. The saxophonist’s phrasings are akin to a vocalist’s storylines. Moreover, Reynolds is a melody-maker who employs pedal steel guitarist David Soler on two pieces, where the overall jazz vibe dwells within a charming and somewhat ethereal, C&W-hued slant.

Drummer Eric Harland’s snappy backbeats and brisk swing metrics provide a pliant bottom-end as the artists’ intermittently commingle the jazz element with gospel, blues and funk. On “Nine Lives,” Aaron Goldberg’s electric piano permeates a jazz-fusion vista, to complement his knotty unison choruses with Reynolds. And the ensemble is apt to break out into a sinuous swing vamp, featuring the saxophonists’ soaring lines. In sum, this endeavor showcases the best of several jazz-drenched attributes. It’s focused, energetic, and entertaining – all laced with the musicians’ soul-stirring episodes and passionately diffused soloing spots.

Heartily recommended…

Rochester City News

by Ron Netsky | September 6, 2006

There is a palpable sense of joy emanating from Bob Reynolds’ saxophone on his debut album, Can’t Wait For Perfect. Reynolds’ compositions (he wrote all 10 tracks) manage to be complex and catchy at the same time, not an easy balance to maintain in jazz. In fact, “First Steps” is among the finest jazz tunes I’ve heard from a contemporary artist. Other songs range from dreamlike — “Intro (For Tomorrow)” — to bluesy — “Can’t Wait For Perfect.”

It’s not surprising that saxophone great Joshua Redman recently endorsed Reynolds’ compositional prowess by playing “Nine Lives,” another fine tune from the album, with his Elastic Band during a recent set at New York’s Blue Note club.

Reynolds wisely waits until the final cut to slow things down with a beautiful ballad, “The Escape,” that gains momentum as it unfolds. Reynolds’ playing and improvisational skills are first-rate throughout, but no small part of this album’s success is due to the stellar cast of sidemen he has assembled.

Pianist Aaron Goldberg takes flight on the opening track, “Common Ground,” and never lands. Bassist Reuben Rogers and Drummer Eric Harland provide a rock-solid foundation on tune after tune. Guitarist Mike Moreno and pedal steel guitarist David Soler play on only a few cuts, but add some wonderful coloration when they do. We should be hearing a lot more from Bob Reynolds.

AllMusicGuide

by Scott Yanow

At first, the music of Bob Reynolds and his basic sound seem pretty similar in spots to Michael Brecker, being technically skilled, complex, and yet somewhat accessible. Later in this CD, Reynolds hints at the soul of Stanley Turrentine when he simplifies his message. Chances are that none of his ten originals will catch on as future standards, although they have their appealing moments, but the playing by Reynolds and his quintet/sextet (which includes Aaron Goldberg mostly on electric piano, guitarist Mike Moreno, and two appearances by steel guitarist David Soler) is first-rate and creative within the modern mainstream. An impressive debut overall.

AllAboutJazz.com

by Stephen Latessa | August 12, 2006

Way too many jazz “composers” come up with a derivative riff and hastily christen the piece a composition. While that may be technically true, there is quite a difference between these works and full-bodied, sturdy efforts that can stand on their own. Fortunately for listeners, saxophonist Bob Reynolds easily earns the title of composer with the material he presents on Can’t Wait For Perfect. The strong performances by the musicians and the deployment of uniquely thoughtful instrumentation add even more interest to the work.

Many of the songs feature the intriguing juxtaposition of a strong backbeat with dreamy, wistful solos. “Belief” frames an insistent vamp by pianist Aaron Goldberg with wispy sighs of pedal steel by David Soler. The mere presence of the pedal steel reveals a willingness to try something different. Less thought would have simply resulted in the use of a cringe-worthy synthesizer to achieve the shading effect. The pedal steel pulls off the neat trick of seeming both organic and ethereal. Fortunately when the synthesizers do make an appearance later in the disc, they are at least as close to subtle as possible.

Throughout, Reynolds solos with his mind firmly on the melody—his solos work to build the mood of the piece, rather than to fit in as many notes as possible. Bassist Reuben Rogers also finds numerous opportunities to shine, particularly with his knotty work on the title track and bowed accompaniment on the meditative, slow-building closer, “The Escape.”

Overall the album is a very strong statement with varied moods and textures. It will be interesting to keep an eye on Reynolds to see what he does next.