“KENNY CARR, Hard Jazz The remarkably eclectic 15-year recording career of guitarist Kenny Carr makes it very clear that the trademark genius tag applied to Ray Charles extended to the legend’s intuition when it came to choosing the perfect musicians for his ensembles. Auditioning for the band while in his final year at Berklee, Carr responded to Charles’ request to “play the blues” to the tune of ten incredible years of worldwide touring. Nothing you’ve heard before from Carr as he’s explored different styles of jazz (traditional, Latin, blues-jazz) will quite prepare you for the raging, high octane rock and roll, funk and blues fired energy he unleashes on Hard Jazz, his epic latest perfectly titled album. COVID-19 has been an extremely difficult time for artists and the music industry at large, but Carr felt the anxious and challenging circumstances opened the door for him to release the album now instead of sometime down the line, as originally planned. As he says, “Everyone is grieving and going through different shocks right now, but also celebrating heroes and recoveries. I felt all of that in these tunes.” The searing, nearly non-stop grooving and electric guitar blistering flow is particularly fascinating when you experience it in tandem with his other 2020 release Passages, a lightly swinging trad jazz work that showcases the more sensual and sensitive side of Carr’s guitar artistry – without sacrificing the Charlesque bluesy grooving of course. Aligning with Carr’s statement, Hard Jazz – which features bassist Dave D’aranjo and drummer Richie Morales, with guest turns by drummer Brian Fuller and bassist's Darren Solomon and Joseph Wallace – is an expression of personal empowerment and blinding optimism from the get go. The constantly percolating “Prelude to a Lead” incorporating crisp jazz licks into a booming intro before the rock madness takes over – and over and over, as barnburners like the title track and “Chicago Ray” shake our eardrums into ecstatic joy. Yet no matter how loud the volume is and how mind bending the note flurries and distortion gets, the Charles influence is never far. Tunes like “Electric Groove” and “Keep Me Searching” all springboard from a lively foundational blues/funk/soul groove and Carr never lets his chops and virtuosity distract from his passion for compelling melodies. There’s even a cosmic power ballad (“Answer”) for those looking for a chillout moment and some more atmospheric spaces to hear him solo. Hard Jazz is a sensory and soul transporting work that begs the question – will the rock and roll expression be a one off or perhaps lay a foundation for more bursts of wilder and louder adventure in the future? My hopeful bet’s on the latter.” - Jonathan Widran

“Hard Jazz’ is the perfect title for this new album by Kenny Carr because the jazzy notes are in place but built around an edgier, Rock foundation. Kenny Carr is an accomplished musician/guitarist who had the pleasure of touring with the great Ray Charles for over 10 years. Since then, Carr has kept very busy on various music projects as this record marks the 8th release for the talented artist. Kenny has a deep history in the areas of Blues & Jazz, but he wanted to shake things up a bit on this new album and throw in a little Rock and Roll for good measure. The result is fantastic and fan-friendly ‘Hard Jazz’ for your eardrums! There are 10 well-written recordings on this album and each song has its own unique touch. There are many great players featured on the record including Richie Morales on drums. Together, Kenny Carr & company have come up with the ultimate jam session that can be enjoyed and appreciated by people from all walks of life. As soon as you hit Play, the listener will get hit with serious depth and jazzy rock on “Prelude to a Lead”. One will also experience face-melting guitar solos and plenty of hard rock riffs to go around on this number. The title track is up next and what a fun, bouncy beat you are hearing. I say gimme a hefty dose of that ‘Hard Jazz’–OH YEAH! Take an audible ride and slide into “Electric Blue” where the melodic waters are fine, so jump on in! Next, prepare to catch a cool, Windy City Breeze along with a BIG “Chicago Ray” of sunshine on track four. Kenny Carr hits you with an inquisitive number on “Question” that will have you stopping for a moment and contemplating everything around you. On track six, head out on a lively walk “Down The Road” where there is no noisy traffic but just good, solid jams. The listener will get a funky fresh flavor on “Funk Love” and then will venture “Out West” as you enjoy all of the rocky sounds along the way. On track nine, the “Answer” is crystal clear and exhibits an honest tone and then Kenny closes the set out in style on “Keep Me This entire album was just a pure joy to listen to and offered the audience so many enticing layers & dimensions musically. ‘Hard Jazz’ is rich in substance and offers high-quality material that’s not complex in nature. All the right ingredients are in place for ‘Hard Jazz’ to soar high on the music charts. This skilled guitarist/musician plays like a champ and has that IT factor, so I am now a Kenny Carr fan! ” - Jimmy Rae

“ There’s a subtle clue in the title Hard Jazz that refers to guitarist Kenny Carr’s spot in Ray Charles’ band for over ten years. Yes, “Hard Times,” the title of one of Brother Ray’s biggest songs and a term this writer has heard others exclaim in the context of blues – “hard blues,” of course. From a critical standpoint though this effort from Carr lies somewhere between all three of the terms, “hard jazz,” ‘hard blues,” and “hard rock.” We’ll get to that shortly but to finish the thoughts Carr’s tenure with Ray Charles, note that Carr was the lead guitarist on Charles’ recordings “Just Between Us” and “Live at Montreux.” Since Charles passing Carr performed in Maceo Parker’s Ray Charles tribute big band in addition to playing in NYC jazz clubs with his own quartet. This is his eighth album as a leader. On this set, Carr plays in a trio, usually with renowned drummer Richie Morales and bassist Dave D’aranjo except on two of ten tracks. Morales, of course, came to fame with The Brecker Brothers but has a deep resume that includes Gato Barbieri, Ray Barretto and Dave Valentin, to the more traditional jazz sounds of Dave Brubeck and Herbie Mann. He has also performed and recorded with the late Grover Washington Jr., Stevie Wonder, Carly Simon, Dianne Reeves, the Mike Stern Group, George Russell’s Living Time Orchestra, as well as the Al DiMeola Electric Project, and saxophonist Bill Evans. Dave D’aranjo’s background lies mostly in theater productions and musicals. This is a foray into rock n’ roll, a genre that Carr has always loved but never put on record until now although he claims he did touch on it in his Exit Moon album. Carr revives several of his compositions that span his 40 years of playing and writing. Many were reconfigured and born out of sessions that he and Morales had. He and Morales recorded many of the pieces just prior to the onslaught of the health pandemic. This is, for lack of a better description, the electric guitar fusion sound like artists Mike Stern and, due to its emphasis on rock, to the Jeff Beck sound too. The title track has Carr wielding not only his blazing Telecaster but G Synth and bass too, while Morales pushes him and takes an explosive solo. The opening orchestral “Prelude to a Lead” has Carr not only on guitar and the G Synth but keyboards too as he’s joined by D’arnajo on bass and Nashville drummer Brian Fullen. Fellow Ray Charles alum Darren Solomon Is the bassist for “Out West.” The album is a balance between all three of the forms as mentioned above with melodic lines throughout such as on the flowing “Question.” The swaying “Chicago Ray” and “Electric Blue” plenty of blues while “Keep Me Searchin’” has as good rock guitar soloing as you’ll hear anywhere. Carr’s guitar soars, burns, slices, and grooves. Don’t expect any gentle caressing as no ballads show up here. It’s all about letting loose. Carr’s guitar will take you to outer realms.” - Jim Hynes

“Everybody here's heard of hard rock, but I wonder...is there such a thing as hard jazz? I'm not talking about a hard rock/jazz hybrid--I'm talking about jazz played with same power, the same sense of scale and drama of your typical hard rock band. I'm talking about tight song structures fortified with a Spector-esque wall of sound, you know, a slow build and an explosive climax. I wondered this, almost aloud, the first time I heard guitarist Kenny Carr's Departure. This is jazz through and through, but the way he and his band rip through these original compositions, you might think they all started a rock band decades ago and then suddenly decided that jazz was more worthy of their efforts and this was Day One.Carr did start off in a different guitar genre, but it was classical music. He's been known for his distinctive blend of jazz, blues and fusion for many years--this is his sixth album--but I can't hear a lick of classical guitar anywhere. Carr has rock in his blood, it seems; it's in the way he stretches out notes during his solos and the way he carefully sets the mood with his riffs. You hear it when his quartet--which also includes bassist Hans Glawischnig, drummer Kenny Wollesen and sax player Donny McCaslin--really starts to push the dense momentum toward the ends of songs. It doesn't even have to be loud or thunderous, since the quiet moments are as plentiful as the maelstroms. There's just a sensibility here, one that may appeal to you if you're a bigger fan or rock than jazz. Let me clarify: this doesn't sound just like rock and roll. That's not what I'm saying. But there are structures underneath it all, an energy that really isn't that common in jazz. Rock was so controversial during its infancy because the rhythms were almost sexual--it certainly reminded too many of its critics of that, anyway. That same tension floats in Carr's music, that tightness that binds the music into a more manageable whole. Jazz is so often about being loose, about having the space to explore. While Departure contains a wealth of jazz solos--McCaslin's are stunning in the way he angrily manipulates his mouthpiece--it's just so propulsive. Perhaps this is why Carr gave this album the title that he did.When I look at what I've just written, I can almost hear the voices in my head asking me if I'm merely describing fusion jazz in its purest form. That might be the case, objectively, but that's not what I'm feeling. This is either a rock band exploring jazz or it's a jazz ensemble exploring rock, albeit in a very subtle way. The more you listen to Departure, the more you feel it. This is jazz that will make you "rock out.”

“Review:  Kenny Carr is a gifted musician, composer and arranger and a graduate of Berklee College of Music.  He began his career as part of the band supporting Ray Charles, and spent 10 years working with the legend.  Since then, he has gone on to make his own music.  Departure is his sixth studio album, and stands on its own as one of the best jazz recordings in recent year Recommendation: Definitely Get this one if you are a jazz fan.  It is a premier addition to your collection.  ”

“The band is very connected, with each member performing beautifully. Carr takes another ride and digs in even harder with an impressive display of technique and musicality. At times Carr is so skilled you forget the amount of technical prowess your ears are experiencing. His music offers a complexity that is so musical that with each listen new surprises unfold.  What sets Departure apart from so many albums out there that serve up a succession of hard blowing, is the subtleties.  Many times, young musicians miss this part of the soulful musicality.  I am sure 10 years on the bandstand with Charles instilled this in Carr’s bones.  He strides right alongside any guitarist in the upper echelon these days, but it is in the details of his rhythm that takes him to the next level.  Departure is a highly recommended listen.” - Ferell Aubre

“Departure opens with “Intervals,” creating this delicious alternate reality, where the entire world is a cool, exciting city, pulsing with music and desire and joy, with the saxophone flying around above us, and the bass inviting us to some specific magnetic establishment, where the guitar can then intoxicate us, so we reach that point where everyone else already seems to be, all the while the drums keeping us moving. What a wonderful track to get things going. It’s followed by “Time Change,” which has a slightly darker, more serious tone at the start. But there is still movement here, the world sliding beneath us, as the sax seems to tell us to climb above so that we can better see what’s happening on the ground. This is exciting music, keeping us on our toes, unsure what is around the corner; the pulse quickens, with the tune’s rhythm, and soon we are all situated on some new plateau, almost without being aware of the entire climb. And, hey, things are good up here. “Tell Me I Can’t” begins with a strong, funky bass line that I love. It holds everything together, and keeps us propelling forward into some delightful realm. While the bass grooves, the guitar then dances above it. This is one to get your entire body moving. It is fun, with some wonderful stuff on saxophone. Toward the end, the guitar seems to rise like giant flowers bursting through concrete, changing the landscape. Things then mellow out a bit for “Warmth,” which has a more romantic bent at the beginning. But that doesn’t mean there isn’t going to be some interesting and exciting work on guitar. Plus, this track features a cool lead on bass. Yeah, the track may begin in a mellower place, but it certainly does not remain tame or restrained. As it approaches its climax, it gets wild, especially the saxophone. That’s followed by “D&P,” which has a delicious groove featuring more wonderful work on bass and some great stuff on drums. The saxophone seems to sing joyously above that great beat, moving and breathing, like some large, wondrous electric animal weaving its way among skyscrapers and dodging meteorites. “Departure,” the album’s title track, is a mellower tune with something of a romantic feel. The guitar has a dreamlike quality at times, making you wish it could just carry you away into the night. When “Bear Call” begins, it has almost a progressive rock sound, in that brief moment before the sax comes in. The sax then takes it to a different level. I really dig the drums on this track. This one at times brings to mind a busy street, with the hustle and activity and energy. The disc then concludes with “Parallels,” which has kind of a light vibe at the start. It becomes a good jam, with plenty of nice stuff on guitar and a cool bass lead a little more than halfway through. CD Track List Intervals Time Change Tell Me I Can’t Warmth D&P Evolutions Departure Waiting Bear Call Parallels  Departure was released on November 1, 2018. ” - MICHAEL DOHERTY

“ Guitarist Kenny Carr released his newest album “Departure” in the fall of 2018. A veteran player with decades of experience, Carr showcases his gift for bold, yet nuanced playing on “Departure.” At times the sound elements on the album sound like rock ‘n’ roll, and other times, they have the feel of old school soul. Carr’s musical past might have something to do with that. Carr plays both guitar and synthesizer. His talent for mood-making and finding the best elements of all instruments involved are present here. “Departure” is not easy listening, but listening to it is time well-spent. Napcloud” - Dodie Miller-Gould

“Departure a contender for the rapid advancement in the popularity charts of JazzWeek. Zoozazz Music ”