There once was a time when even the most prominent jazz musicians would get involved in what in the USA is generally known as pop music. Miles Davis, Sonny Rollins, Bill Evans (especially him!) – they all interpreted in their own personal manner the well-established standards of the «All American Songbook». There is no reason whatsoever why young musicians on the current scene shouldn’t do the same. But there is a serious difference: The old standards are all built on the rhythmic pattern of the 4/4 time signature. Today, the orientation lies in the diverse rhythmic facets of each composition! «Groove» is the name of game! And that is exactly what this production projects. Bass player Peter Keiser is well versed in this category. He knows exactly how to supply the foundation on which a composition can be made clear, interesting and innovative. Keyboard wizard John Gentry Tennyson succeeds time after time in giving each tune the desired colour, idiomatic legitimacy and of course making his own mark when it comes to melodics, technique and harmonic embellishment. It therefore comes as no surprise that these two musicians have found each other. And it is even less of a surprise that this duo works organically and perfectly together. The description «Popjazz» thus acquires a legitimate meaning. Even in a remote sense more than often, all compositions lean on patterns which derive from the upper class of pop music. The rhythmic aspect stays within the guidelines of funk, soul and last but not least jazz rock. Tennyson and Keiser are on their way to showing new and absolutely justifiable perspectives within the musical understanding of pop and jazz during the past twenty years. Both protagonists do it with all the means they both possess on an extremely high level. The times have changed – even though creativity, innovation and enormous ability are still very much in demand. Both Tennyson and Keiser are devoted to a task which, when given a closer look, makes just as much sense as the pop interpretations of the great masters during the Fifties. The small and subtle difference is that while many different aspects can be studied on this production, the main thing that counts is the direction in which it goes. Everything else is a musical definition of the position and a creative expression of two excellent musicians.” - Kurt Weil

— JAZZ Magazine/Zurich

Groove is king on this set from keyboardist John Gentry Tennyson and bassist Peter Keiser (supported by various side musicians). Latin, funk, fusion, modern and traditional jazz styles abound, with a feel that is somewhat retro, yet timeless. There are superb arrangements throughout that are never boring or too busy, always allowing for dynamics and space. Opening "PopJazz" is "Frankie Sunshine", a funky piece with echoes of Ramsey Lewis or Horace Silver in Tennyson's gospel-tinged piano work. "Boggiolina" kicks it up a notch with a slightly sinister Cuban flavor, while "Summer, Winter, Fall & Spring" is one of three tracks featuring vocalist Aisha de Haas, who shines on this R&B ballad. Despite its' faster tempo, "Lili Belle" is not rushed, but rather seems to float its' way through. There are more heated grooves in such tracks as "Riviera", "Love Is The Ultimate Groove", "Maur", "Currents-Scenes From My Life", and "PopJazz", and easier-going moments in "Je Suis Fatigue", "The Last Good-Bye", and "Volo Nocturno". Every song has a life of its' own. Although recorded in several locations, this CD has a natural flow about it, which showcases the exemplary production values and highlights the listening experience. All the musicians here handle their roles with aplomb and virtuoso skillfulness. "PopJazz" is a worthy addition to any serious jazz fan's collection.” - Gina Morris

Evolution of Media/

John Gentry Tennyson maintains his ranking as the finest pianist on and one of the most creative and talented musicians of our era. His latest CD, "PopJazz", a collaboration with bassist extraordinaire, Peter Keiser, is yet another representation of his always moving scope. Our favorite track is the 4th - an instrumental called, "Lili Belle". It is a moving locomotive of relaxing energy and modulation. Tennyson predominantly plays towards new age with minor keys that cascade uniformly with the wash of percussion as backdrop but then adds texture and major resolutions within the composition that peek briefly out from their new age home. "Lili Belle" is a mixture of serious contemplation peppered with smiles. The simple dance of "Maur" starts bare and Irish, with Slavic sensibilities in it's evolution. The dance makes room for back beat groove about two minutes in - and the listener finds himself in 40's New York, smoke-filled and beat crazy. The tune starts with structure and purity and ends in chaotic jazz joy. Je Suis Fatigue" and "Last Good-Bye" are classic contemplative Tennyson. "Good-Bye" grooves new - and John takes the space to discover improvisational areas that we haven't heard in the tune prior. Wonderful. The title track, "PopJazz", is most ambitious track on the CD. An envelope filter swallows Keiser's bass lines with funk. Tennyson layers piano with marimba. Percussion/drums throughout support the movement and the instrumental vamp in the center gives John a chance to 'Rhodes' his musical love into aural pleasure. Aisha de Haas provides vocals on tracks, "Summer, Winter, Fall. & Spring" and "I Met Someone Wonderful". Her vocals are smoky and sultry and remind us of Anita Baker. Great CD.” - Don Kimenker