Bob James Albums (39)
'Angels of Shanghai'
Release Date 3/21/2006
Tracks 11
Label Universal
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What The Critics Say
On Angels of Shanghai, pianist, composer and producer Bob James and his band -- drummer/percussionist Harvey Mason, guitarist Jack Lee, bassist/vocalist Nathan East -- team with China' best and brightest playing traditional instruments to create a meld of Western smooth jazz and Asian folk music that relies on improvisation as much as it does composition and arrangement to produce what will undoubtedly become a touchstone in his long career. Fans of James' intensely lyrical and light music shouldn't be alarmed by this step toward the East at all. None of that has been lost, as evidenced by the opening cut "Celebration," where one of his signature themes, with its breezy harmonic interpolations, is laid next to a syncopated melody. On "Gulangyu Island," which follows, drum loops, hand percussion and piano are added to the er-hu, pipa, guzheng and dizi, to create (what else?) but a Chinese version of a James composition! That's all good news. The exoticism of this recording doesn't overwhelm, and if anything, James takes more chances here than he has in decades. His solos, made up of hypnotic runs and subtle, bluesy arpeggios contrast well with the modes and scales of Asia. "Endless Time" with East on lead vocals, is a pop song with beautiful pipa additions, but it's still far too lightweight for anything but adult contemporary radio. But they get back on track with "Theme 'Onara' (from 'Daejangkeum')" that is simply majestic in its arrangement and execution; James understands the regal aspects of the Chinese folk tradition. By marrying them to contemporary jazz he extends the reach of both musics seamlessly. "Dream with Me" begins as a strange and haunting atmospheric piece that marries the pipa and er-hu to a skeletal electronic loop that touches on but never quite gets to funk -- even with the breakbeats programmed in, the most beautiful things here are the "Angels Theme" with its pipa, er-hu and guzheng lines reigning over the piano and basslines, and the crystalline cover of "Butterfly Lovers" by Gang Chen and Zhan Hao He. The set ends with a new version of "Angela (Theme from Taxi)," with the new instruments woven right into the mix, and it's as beautiful and even more haunting than the original. It becomes a contemporary soul-jazz tune with its melody woven right inside a new harmonic arrangement by James. With Angels of Shanghai, James has attempted to take his audience with him into new terrains. Let's hope they follow because this is the most ambitious contemporary smooth jazz has ever been. Those who can handle their jazz "lite" would be wise to give this a shot because of the gentle exhilaration it provides the listener. Fans of unadorned Chinese folk music will find this blasphemy, no doubt, as will most "pure" jazz fans, but it's their collective loss. ~ Thom Jurek, All Music Guide
What The Critics Say
On most of these selections, pianist Bob James is in the spotlight, playing with a rhythm section and occasionally a guitar or a sax. The opener, "Choose Me," has James jamming over the chord changes of the blues and gives one hope that this will be one of his more substantial jazz dates. But no such luck. Most of the selections rarely rise above the level of lightly funky background music. Guitarist Earl Klugh drops by for "Fresh Start" and there is a pop vocal feature apiece for Hilary James and Nathan East. Overall, this is easy-listening pop/jazz, pleasant but forgettable. ~ Scott Yanow, All Music Guide
What The Critics Say
Bob James, who for many years has gained fame and fortune for his commercial pop/jazz crossover sets, on this set returns to his roots in straight-ahead jazz. James is showcased in a trio with bassist James Genus and drummer Billy Kilson, paying tribute to some of his favorite pianists. James' interpretations of nine standards are not necessarily in the style of the pianists, but there are moments when he consciously quotes one of their phrases, including putting a phrase from "Mona Lisa" in "Straighten Up and Fly Right" for Nat King Cole. Along the way he also pays homage to Red Garland, Glenn Gould (the classical pianist liked "Downtown"), Oscar Peterson, Bill Evans, Ahmad Jamal, Erroll Garner (his version of "Caravan"), Mal Waldron, and John Lewis. It is to Bob James' credit that he still sounds so natural playing this bop-oriented music; this is one of the most rewarding playing dates of his recording career. ~ Scott Yanow, All Music Guide
'Morning, Noon, & Night'
Release Date 9/24/2002
Tracks 11
Label Warner Bros.
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What The Critics Say
As one review once put it, James was putting the "smooth" into "jazz" long before the genre had its formal name, and it was fun to take stock of his lengthy quarter-century-plus recording career with 2001's double CD Restoration: The Best of Bob James. Hardly about to rest on his laurels, he's chugging ahead in 2002 with a new Fourplay album (Heartfelt) and this likeable, diverse effort. The idea seems to be to return to the spirit and groove of his classic albums of the '70s and early '80s, but play those licks in the company of latter-day top stars (Rick Braun, Dave Koz, Keiko Matsui, Paul Jackson, Jr., Chuck Loeb). And let's not forget the groovemeisters Vinnie Colaiuta (drums) and Will Lee (bass), so hip and sly on mood-swinging tunes like "Baby Cakes." Considering that the disc mostly focuses on sharply composed, tightly played, and slickly produced tracks by genre hitmakers like Loeb and Paul Brown, it seems curious that James would open with a somewhat alienating, experimental track ("Street Smart"). It opens with scratches, ambience, and darting piano runs that scream "avant-garde," before getting into a heavier groove, classical piano ideas, and finally moving into a brief big band swing section. It's interesting, but all over the place. Loeb's tune, "Just One Thing," is the complete opposite, a crisp, dreamy, light funk piece perfect for smooth jazz radio; Jamesand Loeb make good studio bedfellows with a smart, witty repartee and tandem energy. The title track is another excellent middle-of-the-road piece, with Dave Koz providing the genuine smiles and extra commercial melodic thrust. "Hands On" is a bouncy jam piece that evokes the loose energy of James' early albums. And labelmate Braun helps bring the romantic "Five O'Clock Chateau" to a deeper place full of soul and energy. Some of the other tunes seem more artsy and fusion-minded, but all of them have a singular focus. Maybe that's the point -- to provide in a new setting the kind of overview of James' multiple approaches that was captured on the best-of package. ~ Jonathan Widran, All Music Guide
'Dancing on the Water'
Release Date 2/13/2001
Tracks 11
Label Warner Bros.
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What The Critics Say
Dancing on the Water features a collection of solo piano performances by Bob James plus duets by James with a diverse array of artists, including bassist Dave Holland, guitarist Chuck Loeb, and pianists Keiku Matsui and Joe Sample. James wrote nine songs on the CD -- everything except "Alone Together" and "Last Night When We Were Young." Four songs ("The Green Hour," "Bogie's Boogie," "Hum Drum," and "Modesty") receive the benefit of James performing solo on acoustic piano. His duet with Keiko Matsui, "Altair and Vega," is an eight-minute masterpiece featuring exceptional interplay between the pianists. The sweet melodies along with fine, balanced technique and tremolo earn this duet high marks. Piano and bass duets by James and Dave Holland are featured on "Last Night When We Were Young" and "Autumn Nocture"; both songs strike an artful balance with rhythmic improvisations that reflect the duo's award-winning jazz styles in a complementary setting. Chuck Loeb expands his awareness of jazz guitar on the title track, "Dancing on the Water." His joyful interpretations and subtle surprises make the music of the acclaimed jazz pianist sound fresh and new. Two tracks with Joe Sample, "Alone Together" and "Tapawingo," exhibit the emotive and superbly inventive bebop-based compositions at the hands of two masters. Their crisp, flowing lines and intricate melodic voicings reflect the influence of such jazz icons as Thelonious Monk and McCoy Tyner. This is an excellent CD and Bob James continues his exceptional musical dialogues with more pronounced affection for traditional jazz styles than on previous releases. ~ Paula Edelstein, All Music Guide
What The Critics Say
This keyboardist was putting the "smooth" into "jazz" long before there was a format by that name. Since the mid-70s, Bob James has been one of instrumental music's most consistent purveyors of tunes that hover in the gray area between lighthearted pop and more sophisticated jazz textures. James' approach here is a little like his contribution to the supergroup Fourplay -- rather than dominate, he's content to jam and be one of the guys. Though his solos stand out, it's almost as if he's a hired gun on a project featuring the best and brightest of this second generation of smooth jazzers. He's farmed out the production tasks to some top studio guys (including musician/artists Paul Brown, Chuck Loeb, Michael Colina, and David McMurray. On the lively, shuffling "Take Me There," he bounces around joyously over Loeb's crisp guitar lines and Kim Waters' smart mix of soprano and alto saxes. "Raise the Roof" features James jazzing it up as saxman Boney James (no relation) harmonizes with a soulfully simmering sax line. "Strollin'" finds Chris Botti's trumpet strutting around like an overachieving jazz student eager to impress professor Miles Davis, while Jonathan Butler's breezy acoustic touch spruces up the elegant funk of "Trade Winds" and "Bisso Baba." A little touch of Fourplay is hard to miss too, as Harvey Mason checks in occasionally on drums, Nathan East plays bass on a few cuts, and former guitarist Lee Ritenour jams on the title track. ~ Jonathan Widran, All Music Guide
'Joined at the Hip'
Release Date 9/17/1996
Tracks 9
Label Warner Bros.
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What The Critics Say
Bob James learned the value of give and take between musicians, along with the fine art of collaboration, from his early experiences on the road with mentor Sarah Vaughan. Later, when he became an artist in his own right, he did more than simply take those lessons to heart -- he built a great part of his storied career on landmark duet recordings with David Sanborn, Earl Klugh, and Fourplay. Remembering what it was like to be young, gifted, and hungry to learn, James not only became an icon to a new generation of contemporary jazz performers, but also personal mentor to one of the genre's most respected young players, saxman Kirk Whalum. After many appearances on each other's solo efforts since the mid-80's, Whalum and James are now on equal terms, Joined at the Hip for a project more spontaneous and soulful than most of their recent output. Keeping that adventurous spontaneity going are the duo's inventive support band of guitarist Jeff Golub, bassist Chris Walker, and drummer Billy Kilson -- all inspired choices neither had previously worked with. The fresh approaches of these new collaborators helps make Joined at the Hip unique from any previous James/Whalum recording. Golub is particularly sharp, easing from rock distortion to funky blues while soloing with all the fiery intensity of his own two solo discs on the no-holds-barred "Out of the Cold." He also adds edgy emotion to the dark tones of "Tell Me Something Nice." Tilson captures the spirit of the project with his crucial input on the playful "Kicking Back." As James explains it, Tilson sat at his kit and started pounding out a rhythm, which James then noodled over to create the initial framework of the playful "Kicking Back." ~ Jonathan Widran, All Music Guide
