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get it on itunes available on Apple ITunes                           available on Apple ITunes Music Monthly Exciting New Releases:   It was exhilarating to put the new Kenny Wright Exprience in my Disc player.I knew it would be wonderful, and it is." Herbie, Miles and me " is freaking great. Actually it is a must have for any jazz fan. Wright is an exceptional bassist and he writes some wonderful music. I thought the first cut " Blue Tuesday "was great. The second one " You and I " was just as fine. Cut by cut I dug it more and more. The instrumentation is fabulous, what great players they are. " Blue in Green ' took my breath away.I had to listen to it over and over again. Wright sure sounds sweet throughout the song,( I love a great bassman ). There is not a bad thing to say about this experience, it was magic start to finish. Susie Mudd	In a totally different area  of improvised music is " Herbie, Miles and me "  (Knee Deep 3967 ) by electric bassist Kenny Wright ( playing acoustic on two tracks ).Wright plays bass in the ' Temptations Review ' and this is the fourth release under his name. As a bass player,he's rock steady, plays interesting lines, and is a thumbpopper. His attitude seems to be that the bass player holds the music together and that's exxactly what he does. He also takes a couple of solo's and shows himself to be a limber,fleet soloist on the instrument, especially on 'Bassment Groove '. On this disc Wright alternates between straight ahead jazz and jazz of a smoother variety.He delivers solid workmanlike jazz. Cadence Magazine                                       get it on Apple ITunes
Fresh Focus Fresh Focus Reviews Record Reactions On this brilliant debut, bassist Kenny Wright illustrates that it's possible to keep the bandleader's instrument out of the foreground (talk about a resigned ego), while at he same time making sure that the groove is the most important thing. In other words, you'd expect a bassist to showcase his slap and pluck prowess above all else; melody and ensemble instrumentation taking a back seat to his Kincaid Custom thump. But on Fresh Focus, Wright's rhythmic dimensions (along with drummer Larry Bright's thunderous patterns) are the propulsive fuel for an arsenal of titan-size jazz rockets such as guitarist Carl Filipiak, alto/soprano sax master Hassan Sabre, pianist Charlie Etzel, and better than a half-dozen other masterful instrumentalists. The basslines are intricate, but never overpowering, and Wright's flair for composition turns a studio full of soloists into an opportunity for musical expansion of harmonic boundaries. What a surprise that it takes a bass player to put together a disc of grooves that not only provides solid support for soloists, but also holds your interest. In fact, it's not until the disc's fifth tract, the aptly-titled "A Bass Thing", that we get a free-form-feeling taste of a four-string practice session. It is here, and only here, that Wright worries more about virtuosity that melodicism. Prior to (and following) "Thing", the listener is swayed, swung, improv'd, and impressed by a dazzlingly sophisticated platform. The gentle, relaxing pace of "Angela" evokes a film noir ambiance with Sabre's soprano sax curling around it like a late night fog. "Krystal" launches from a free-form intro, and the combo's stretch out finds sharp guitar shards trading salvos with a busy pair of piano hands. "The Waterbearer Revisited" percolates with reckless abandon, changing gears (and time signatures) like a Nine-Eleven on the Autobahn. The tune's tempo is bent back on itself as heavenly celeste tinkling ricochets off of vigorous piano lines and a downright rockin' guitar riff. Fresh Focus simply touches all the bases. Other Tracks, such as "Kymberlie's Promise" and "The Line-Up", are equally varied and just as rewarding. "Kymberlie's Promise" never fully delivers on its Latin promise, but delivers enough seasoning for a spicy whiff. "The Line-Up" hints at a full-fledged jam session, but avoids being chaotic thanks to the horn section coming together over the funky rhythm strut. A quick shift to a walking ramble, piano and percussion at the front, and the original melody line slides back in as gracefully as if it's never been away. Throw in the funky lean of "Belushi" and the supper-club fare of "Blue Tuesday", and this set is quite simply a well-rounded, aural delight. Music Monthly   ================================= Fresh Focus Critic's Review Craig Lytle, All Music Guide With a less-than-famous cast of players, this collection of contemporary jazz compositions are a good listen. Most of the numbers paint a picture of an uptown nightclub scene. Bassist Kenny Wright and his cohorts shine through each tune with precision, creativity and feeling.	click to buy,,,available on Apple ITunes Kenny Wright is on of these rather unknown but high professional artists, who deserves undoubtly your unrestricted attention. Kenny is a perfect bassist. He and his backup band, Fresh Groove, have been busy opening for such acts as Gladys Knight, Kim Waters, Walter Beasley, and others. Kenny and the band have also been featured on the Bet on Jazz Network where they have been recognized as cutting edge musicians. HBH- smoothjazz.de *********************************************  Article Courtesy AllAboutJazz.com By Mark Sabbatini "Kenny Wright: wildly uneven - great funk on 'Bootsy The Cat,'  tepid smooth jazz" ======================================================== A sometimes adventurous independent production, The Kenny Wright Experience's Comin' At Ya hits hardest in its quirky moments. These also happen to be moments featuring the singing bass work of bandleader/producer Wright,  Previously mentioned highlights include "Far Side of the Moon", with its knuckly ball percussion and "Through the Mist", which swings into a neat waltz quality on the strength of Wright's bass work. Wright's technical skills and timing instincts are well demonstrated. Jazz Times