"Don't play the saxophone. Let it play you," jazz legend Charlie Parker once said. It's a pint of wisdom that saxophonist Lenny Sendersky echoes on his latest album, Lenny Sendersky Quintet (Denmark 2005). There's a strong sense of liberation that fuels Sendersky's alto/soprano sax playing on the record; it glimmers with life and personality, free from any creative restraints. It's a smooth and soothing ride to the casual ear and a technically precise one for enlightened crowds. Both will walk away satisfied as Sendersky has much to offer.
Also featuring pianist Morten Puper, guitarist Ask Norholm, bassist Adam Melbye, and drummer Hakon Berre, Sendersky's quintet functions as a well-oiled and electrifying unit. Born in Leningrad, Russia, Sendersky has composed music for film and theater, and as a band leader he conveys that same level of command and imagination. Sendersky's playfully soaring sax on “Yello" caresses as it reaches new heights while Berre thickens the air with his robust, kinetic drumming. It's a highly engaging track, one that provides comfortable listening while stimulating the intellect.
The chemistry between Sendersky and his group is the album's beating heart. On “Lily of the Valley," Sendersky's easygoing sax is perfectly complemented by Puper's tinkling piano. “220V," on the other hand, is absolutely breathtaking with its rambunctious energy. Sendersky's jumpy saxophone helps elevate the track's bopping rhythms; he and his band are on fire here, providing a sweltering performance.
This is not a record that is only meant for a single spin and then be shuffled into the library for archiving. It lives and breathes with youthful exuberance and emotional depth.
Also featuring pianist Morten Puper, guitarist Ask Norholm, bassist Adam Melbye, and drummer Hakon Berre, Sendersky's quintet functions as a well-oiled and electrifying unit. Born in Leningrad, Russia, Sendersky has composed music for film and theater, and as a band leader he conveys that same level of command and imagination. Sendersky's playfully soaring sax on “Yello" caresses as it reaches new heights while Berre thickens the air with his robust, kinetic drumming. It's a highly engaging track, one that provides comfortable listening while stimulating the intellect.
The chemistry between Sendersky and his group is the album's beating heart. On “Lily of the Valley," Sendersky's easygoing sax is perfectly complemented by Puper's tinkling piano. “220V," on the other hand, is absolutely breathtaking with its rambunctious energy. Sendersky's jumpy saxophone helps elevate the track's bopping rhythms; he and his band are on fire here, providing a sweltering performance.
This is not a record that is only meant for a single spin and then be shuffled into the library for archiving. It lives and breathes with youthful exuberance and emotional depth.
