|Bob Kenmotsu (2006)|
|Bob Kenmotsu was born in Stockton, Ca. He first learned music in the public schools starting on clarinet in the 4th Grade. He switched to alto sax in while a senior in high school, and switched to tenor sax in college.
Bob graduated from San Jose State University and began working local music jobs. After working a cruise ship job out of Los Angeles, he moved to New York and began working as a free-lance jazz saxophonist.
While in New York, Bob was a member of the Jack McDuff organ combo, and the Ruth Brown Band. He recorded ‘The Spark’, with Billy Hart and Ira Coleman, and ‘Bronx Tale’, with Pat Martino and Jack McDuff. Bob also played on Pat Martino’s ‘Nightwings’, with Bill Stewart and Marc Johnson. While living back east, Bob received a New Jersey Arts Commision Grant for composition.
In 1994, Bob went to Japan on a Japan/US Fellowship cultural exchange grant, and lived there until 1997. While there, he played many clubs, concerts, festivals, and toured the country several times.
In 1997, Bob returned to the US, this time to the San Francisco Bay Area. He recorded ‘Looking at Air’, with Bill Stewart, Essiet Okun Essiet and Joel Weiskopf.
Now, Bob lives in Berkeley, CA and is working jazz clubs and concerts on the West Coast. His latest recording, ‘Reunion’ features Bob Corwin, piano, Danny Flahive, bass, and Ron Marabuto, drums.
|# 1||Lester Young||Live at the Savoy Ballroom (LP)||Lester Leaps In||(Charlie Parker Records)|
|# 2||Don Byas and Slam Stewart||Smithsonian Collection of Classic Jazz (LP)||I Got Rhythm||(Smithsonian)|
|# 3||Wardell Gray||Live in Hollywood (LP)||Donna Lee||(Xanadu)|
|# 4||Sonny Stitt||Sonny's Blues (LP||Sonny's Blues||(Up Front)|
|# 5||David "Fathead" Newman||Fathead/Ray Charles Presents David Newman (LP)||Bill for Bennie||(Atlantic)|
|# 6||Miles Davis||'Round Midnight||'Round Midnight||(Columbia)|
|# 7||Woody Shaw||Rosewood (LP||Rosewood||(Columbia)|
|# 8||Johnny Griffin, John Coltrane and Hank Mobley||A Blowin' Session||The Way You Look Tonight||(Blue Note)|
Ron E. Beck