Bob James Trio - Feel Like Making LIVE !

Styles: Piano Jazz
File: MP3@320K/s
Time: 76:34
Size: 176,2 MB
Art: Front

(6:57) 1. Angela
(4:50) 2. Rocket Man
(4:42) 3. Maputo
(5:48) 4. Topside
(4:51) 5. Misty
(6:02) 6. Avalabop
(2:47) 7. Nautilus
(6:28) 8. Downtown
(4:47) 9. Niles A Head
(9:16) 10. Feel Like Making Love / Night Crawler
(5:40) 11. Submarine
(8:31) 12. Mister Magic
(5:48) 13. Westchester Lady

Bob James keyboardist, pianist, composer and arranger opens Feel Like Making Live! with his original tune, "Angela (Theme From 'Taxi')." Everyone has heard it that is what exposure from a popular television show can do. That series ran from 1978 to 1983. Taxi music, along with his albums on Creed Taylor's CTI Records during this time, in addition to his taking on arranging chores for the label, for the likes of saxophonist Stanley Turrentine, vibraphonist Milt Jackson, saxophonist Grover Washington, Jr. and more, made a name for James. So, a short history of a sixty year career: his first album, Bold Conceptions (Mercury Records) released in 1963, fifty or so more albums followed, a dozen with his group Fourplay; his contribution to hip hop via sampling of his recordings, and finally coming around now to a trio offering a mode of making music he calls ..."a perfect way that I can express myself" with Feel Like making Live!, an audio/visual experience that includes, along with the CD, a Blue Ray disc of James and his trio performing in the studio.

After "Angela" leaves, James and the trio take on Elton John, with "Rocket Man." Laying aside the goofy lyrics of the tune, and hearing it in a purer form, reveals the accessible loveliness of the melody. And that is a trademark of James' approach finding the beauty of a tune, then putting his stamp on it, via embellishment with lush and polished arrangements, or using subtle adjustments and "just" a trio to make his mark.

Also included are "Misty," written and made famous by Erroll Garner, and a Clint Eastwood movie; "Feel Like Makin' Love,'' written by Eugene McDaniels and covered by Roberta Flack and then Bob James in 1974 again, a pop tune turned into an engaging jazz listening experience. Marcus Miller's "Maputo" is here, and "Downtown," made famous by Petula Clark; Miles Davis' "Nardi" and a couple of handfuls of James more popular originals: "Westchester Lady," "Topside," "Angela" (of course), "Avilabop..."

For an artist who made a good part of his name with lush, broad-stroke arrangements and polished production that earned him a "smooth jazzer" tag (sometimes employed derisively, by people who don't know their hindquarters from a hole in the ground in regards to James' sound), a lot of late career trio work from Bob James is showing up. 2018 saw the release of Expresso (Evosound Records); and in 2021 Once Upon A Time: The Lost 1965 New York Studio Sessions (Resonance Records) was released, looking back at James' early days. He started his jazz journey with a trio, and with Feel Like Making Live! he returns to it. Put in the strings and intricate horns, charts and keyboards, and Bob James makes beautiful music. Pare it down to the trio, and he does the same thing.

And the Blue-Ray: This captures James and company in a spacious studio in warm lighting, the leader's electric and acoustic keyboards set at right angles so he can play them simultaneously, offering an intimate "in the room with them" listening experience.
~Dan McClenaghanhttps://www.allaboutjazz.com/feel-like-makin-live-bob-james-trio-evolution-music-group

Personnel: Bob James: piano; Michael Palazzollo: bass; Billy Kilson: drums.

Feel Like Making LIVE !

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Fourplay - Energy

Styles: Jazz, Crossover Jazz
Year: 2008
File: MP3@320K/s
Time: 50:25
Size: 115,6 MB
Art: Front

(5:52) 1. Fortune Teller
(5:25) 2. The Whistle
(4:17) 3. Ultralight
(4:57) 4. Cape Town
(5:07) 5. The Yes Club
(3:09) 6. Prelude For Lovers
(6:35) 7. Look Both Ways
(5:21) 8. Argentina
(4:54) 9. Comfort Zone
(4:45) 10. Sebastian

Fourplay is as much a conundrum as a contrivance. Their punning name suggests sexy jazz and both levels are sometimes achieved but if this collective's aim of producing what is, after all, supposed to be "pretty music" meets its goal, it may sell millions but it rarely rises above agreeable (for those paying attention) or merely listenable (for those doing other things). Energy, the foursome's eleventh release and seventh with Larry Carlton in place of original guitarist Lee Ritenour, continues this foray but with slightly better than average results. While no Fourplay album has ever produced any definitive musical statement, the eponymous first album (Warner Bros., 1991) contains many of what remains today to be the band's best and best-known music ("Bali Run," "101 Eastbound," "Moonjogger").

It also set the group's "fourmula" "Bali Run" rewrites, a strikingly anonymous ballad featuring a high-profile or label-mate singer and low-key riff-based tunes from each of the group's four leaders. Only occasionally has the group appeared to go for something greater. Several examples include "Chant" from Between The Sheets (Warner Bros., 1993), Snowbound (Warner Bros., 1999), a charming and unusual holiday collection, and the quite fine Heartfelt (Bluebird, 2002).

Here, they may have actually come up with the "energy" to make something that matters slightly more than usual. As always, keyboardist Bob James and guitarist Larry Carlton are the predominant soloists although bassist Nathan East's occasional warm vocalizations give this band its distinct personality and while James often contributes the stronger tunes, Carlton steps up here with two mildly funky gems, "Ultralight," offering a brief and welcome respite by Bob James on Fender Rhodes, and "Comfort Zone," which seems to have jumped right out of the Crusaders catalog (Carlton was one of the Crusaders in the 1970s). But, like so much in the Fourplay band book, even these lack the sort of drama or sustained interest that make a memorable tune compelling.

Bob James contributes three interesting compositions, most notably the enchanting "Sebastian," which is based on a beautiful Bach piano piece and nicely recalls his synth-driven take on Beethoven's Ninth Symphony, "Ludwig," from 1983. James mines more of his past on "The Yes Club," a jaunty sprite that echoes his Lucky Seven (Columbia, 1979) fusion days and "Look Both Ways," which initially suggests One On One (CBS, 1979), his 1979 foray with Earl Klugh, then moves to suggest a few pieces on the pair's 1992 collaboration, Cool (Warner Bros., 1992). Indeed, "Look Both Ways" offers one startling minute that is the jazziest and most exciting this foursome has ever gotten. This is the way to look.

With four players of the caliber of Bob James, Larry Carlton, Nathan East, and Harvey Mason, talented and experienced beyond imagination and certainly capable of choosing their own direction, it's easy to hope for more than what Energy provides. But now, well past the group's 15-year mark, it's unreasonable to expect any substantial change. Despite this, Energy lives up to its claim, invigorating Fourplay to deliver one of its more interesting and enjoyable releases.~Douglas Paynehttps://www.allaboutjazz.com/energy-fourplay-heads-up-international-review-by-douglas-payne

Personnel: Bob James: keyboards; Nathan East: bass, vocals (4, 10); Larry Carlton: guitar; Harvey Mason: drums; Sara East: background vocal (4); Noah East: background vocal (4); Elijah East: background vocal (4); Marcel East: programming (4), percussion (4), keyboards (4), guitar (4); Esperanza Spalding: vocals (6).

Energy

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Bob James - Once Upon A Time: The Lost 1965 New York Studio Sessions

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 51:01
Size: 117,4 MB
Art: Front

(5:45) 1. Serenata
(7:00) 2. Once Upon A Time
(7:36) 3. Lateef Minor 7th
(6:22) 4. Variations
(4:42) 5. Airegin
(5:09) 6. Indian Summer
(5:22) 7. Solar
(9:01) 8. Long Forgotten Blues

Most people have heard the music of Bob James. He wrote "Angela," the theme song for the popular television comedy Taxi. The show ran from 1978 to 1983, and reruns are ongoing. The Bob James became one of the fathers and most successful purveyors of the smooth/fusion jazz sound, in recordings under his own name, with the group Foreplay and in teamings with saxophonist David Sanborn. Once Upon A Time: The Lost 1965 New York Studio Sessions takes us to Bob James back in the beginning, in a way we perhaps haven't heard him, before he hit the groove which took him into a lucrative and still vibrant career. The first impression: the music sounds so un-Bob James-y no R & B funk moods, no lush and gorgeous backdrops, no high-polish production, no synthesizer sweetenings. Instead, the two sessions are two-thirds straight ahead piano trio jazz not too far from what pianist Bill Evans was doing at that time mixed with some unexpectedly far out avant-garde.

The first session, laid down in January '65, opens with Leroy Anderson's "Serenata," first recorded in 1949 by the Boston Pops Orchestra. James' take features the bright, light-stepping melody in front of the bounce and shuffle of bassist Larry Rockwell and drummer Robert Pozar. The disc's title tune, a James original, is painted with darker hues than those of the opener wistful and sad, with a shift into an anguished segment of angular piano searchings and arco bass that re-convenes into the engaging melody. Joe Zawinul's "Lateef Minor 7th" begins in a mainstream mode, but shifts into clamorous, low-key disarray, with vocalizations which sound as if they issued from unsettled minds, before the tune finds its way back home. "Variation," another James-penned tune, begins in a stately manner that evolves via the off-kilter instrumental machinations of drummer Posner and bassist Rockwell, along with some more indecipherable vocalizations into straightforward weirdness, with the piano trying mightily to retain a mainstream mood.

The second session, from October 9, 1965, is straight through, straight ahead: Sonny Rollins' "Airegin," the standard "Indian Summer," Miles Davis' "Solar," "Long Forgotten Afternoon," composing attributed to "Unknown," all nicely rendered, with pizzazz. The set, considered in its entirety, seems to say Bob James could have taken a number of different paths in his jazz journey: one on the sunny side of the street as a melodically bright, Ahmad Jamal-style piano trio guy, or taking a wild ride along a zig zagging road to a Stockhausen-esque avant-garde approach, instead of following his muse to wonderful success in the creation and the shaping the fusion/smooth jazz sound. And, it should be mentioned, the guy who recorded these two sessions was George Klabin, founder and co-president of Resonance Records, who was nineteen years old at the time, and continues to find great music from the past, from Eric Dolphy, Bill Evans, Wes Montgomery, Nat King Cole to Bob James and more. ~ Dan McClenaghan https://www.allaboutjazz.com/once-upon-a-time-the-lost-1965-new-york-studio-sessions-bob-james-resonance-records

Personnel: Bob James: piano; Larry Rockwell: bass; Robert Pozar: drums; Bill Wood: bass; Omar Clay: drums.

Once Upon A Time: The Lost 1965 New York Studio Sessions

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Eddie Daniels - Night Kisses: A Tribute To Ivan Lins

Styles: Clarinet, Flute, Tenor Sax
Year: 2020
File: MP3@320K/s
Time: 71:40
Size: 166,2 MB
Art: Front

(6:40) 1. A Voz Do Povo
(4:26) 2. Pano de Fundo
(5:09) 3. Mãos de Afeto
(4:24) 4. D'Aquilo Que Eu Sei
(6:01) 5. Velas Içadas
(4:47) 6. Dinorah, Dinorah
(5:02) 7. Cantor Da Noite
(6:38) 8. Quadras De Roda: O Passarinho Cantou
(4:23) 9. Amor
(6:03) 10. Lembra
(5:46) 11. Depois dos Temporais
(7:21) 12. A Noite
(4:53) 13. Ivante

Ever since the first wave of Jobim and Gilberto mania broke, the world has gratefully bathed in the inexhaustible flow of melody that emanates from Brazil. Ivan Lins is one of the Brazilian composers to have made a deep impression on the jazz world, along with Milton Nascimento, Edu Lobo, Dori Caymmi and Egberto Gismonti, (to whom Daniels recorded a tribute in 2018). Mark Murphy devoted an entire album (1986’s Night Mood) to the songs of Lins, and it’s easy to see why the Brazilian’s often melancholy compositions appealed to Murphy. The songs here are all from a relatively short but turbulent period 1977 to 1983 during which Brazil chafed under a brutal American-backed military dictatorship.

As the title suggests, this new album is a labour of love headed up by veteran clarinettist, flautist and saxophonist Eddie Daniels, whose pure, liquid tone cascades through every track. It should be said that lovers of cutting edge jazz are not the target audience for Night Kisses: there’s no dissonance, no tension it’s all melody, sweetened yet further by the Harlem Quartet string ensemble, who not only provide a soothing pad for Daniels and the rhythm section, but also sometimes offer a pseudo-classical introduction to the arrangements, as on A Noite. Piano duties are shared between Josh Nelson, Kuno Schmid, Dave Grusin and Bob James, each of whom has also arranged at least two of the tunes. Kevin Axt is the bass player, and Mauricio Zottarelli is on drums.

Personal favourites here include the opener A Voz Do Povo (The People’s Voice), which alternates between bossa and swing, and features great soloing from Daniels on flute and Nelson on piano. Of course, in any collection there will be absences: surprisingly there’s no sign here of Love Dance or Começar de Novo better known as The Island and it would have been nice to hear a Daniels version of Antes Que Seja Tarde (Before We Lose Tomorrow). But we do get Velas Içadas (Hoisted Sails) and Lembra. Curiously, the comprehensive and detailed sleeve notes, written by Daniels, Lins and label boss George Klabin, make much of Vitor Martins’ lyrics to the original compositions, and the danger he and Lins faced in writing songs which were seen at the time as subversive. “We used to have censors following us all the time and cutting our lyrics,” writes Lins. The two were forced to use a lot of metaphor to avoid expressing themselves too openly. “One trick was, write more lyric than you need because the censor needed to cut something. If they cut, they were happy.” The booklet even devotes many pages to the English translations of Martins’ lyrics. But although the songs were written to be sung, the album itself is entirely instrumental, and combined with its super-smooth arrangements, it’s all a little too rich and sugary, and rather lacking in the emotional punch that the human voice can provide.~Peter Jones https://londonjazznews.com/2020/10/22/eddie-daniels-night-kisses-a-tribute-to-ivan-lins/

Personnel: Eddie Daniels, clarinet, flute, tenor saxophone; Kuno Schmid, Bob James (10, 13), Dave Grusin (3, 11, 13), Josh Nelson (1, 8, 12), keyboards; Harlem Quartet, strings; Kevin Axt, bass; Mauricio Zottarelli, drums.

Night Kisses: A Tribute To Ivan Lins

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Bob James - Morning, Noon And Night

Styles: Keyboards, Jazz Funk
Year: 2002
File: MP3@320K/s
Time: 57:41
Size: 133,1 MB
Art: Front

(6:06)  1. Street Smart
(5:03)  2. Just One Thing
(4:14)  3. Morning, Noon & Night
(5:50)  4. Hands On
(5:54)  5. Over & Over
(4:27)  6. Five O'Clock Chateau
(3:21)  7. When The Love Is Over
(5:41)  8. Nightbeat
(5:52)  9. Baby Cakes
(5:38) 10. Dai Dai Ya
(5:30) 11. Count On It

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 https://www.allmusic.com/album/morning-noon-night-mw0000225224

Morning, Noon And Night

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Fourplay - Heartfelt

Styles: Jazz, Crossover Jazz  
Year: 2002
File: MP3@320K/s
Time: 66:09
Size: 153,2 MB
Art: Front

(5:45)  1. Galaxia
(6:44)  2. That's the Time
(5:43)  3. Break it Out
(4:11)  4. Rollin'
(3:56)  5. Let's Make Love
(6:59)  6. Heartfelt
(5:55)  7. Tally Ho!
(5:18)  8. Café L'Amour
(5:28)  9. Ju-Ju
(5:58) 10. Goin' Back Home
(5:29) 11. Karma
(4:36) 12. Making Up

Breaking from their routine, Fourplay created most of the material on Heartfelt in the studio, through a process of free jamming followed by assembly of the best parts through Pro Tools editing. The differences in the results are subtle and, on balance, not necessarily positive. 

Though all four players are true virtuosos, the band's mellow feel encourages each to avoid excess, or its positive alter ego, adventurism, in their solos, while the improvisational core of the project tends to weaken the compositional foundations. The strongest cuts are those written by one member or two in combination; on these, from the Pat Metheny-inflected title track to Nathan East's velvety vocal showcase "Let's Make Love," the quartet's taste and fundamentally conservative aesthetic shine most brightly. ~ Robert L. Doerschuk https://www.allmusic.com/album/heartfelt-mw0000224952

Personnel:  Bob James – keyboards; Larry Carlton – guitar; Nathan East – bass guitar; Harvey Mason – drums

Heartfelt

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Fourplay - Yes, Please!

Styles: Jazz, Crossover Jazz 
Year: 2000
File: MP3@320K/s
Time: 63:15
Size: 145,0 MB
Art: Front

(6:26)  1. Free Range
(5:49)  2. Double Trouble
(4:33)  3. Once Upon a Love
(6:27)  4. Robo Bop
(6:59)  5. Blues Force
(5:33)  6. Save Some Love for Me
(8:11)  7. Fortress
(4:05)  8. Go with Your Heart
(5:15)  9. Poco a Poco
(4:20) 10. A Little Fourplay [feat. Sherree]
(5:33) 11. Lucky

There's no doubt that Fourplay is, collectively, one of the most talent-laden ensembles in contemporary jazz today. But their output to date, while always accessible to the masses, has alternated between interesting, worthwhile comtempo fare (their eponymous debut CD and their third release, Elixir ) and more watered-down, commercially-oriented "smooth jazz" ( Between the Sheets and 4 ). On their latest CD Yes, Please! , we get some of each. The disc gets off to a promising start with "Free Range," "Double Trouble," and "Robo Bop" the breezy melodies are supported with some interesting harmonies and creative background fills (Bob James trademarks) and some good group interplay. Larry Carlton's pensive, singing guitar caresses the lines of the ballad "Once Upon a Love." Carlton displays his bluesier side on "Blues Force," though James' solo seems stilted and awkward. The disc's radio offerings, however, reach new lows in sterile banality. Female background vocalists seductively coo "Save Some Love for Me (Tonight)" repeatedly over a plodding drum loop. The saccharine seduction resumes on "A Little Foreplay." Throughout this disc, mellow is the word. The tempos range from slow to medium, and the dynamics rarely reach above mezzoforte. While the musicianship is impeccable and there are interesting touches here and there, it's a very relaxed, placid outing. (Warner Bros. 47694) ~ Dave Hughes https://www.allaboutjazz.com/yes-please-fourplay-warner-bros-review-by-dave-hughes.php

Personnel: Bob James, keyboards; Larry Carlton, guitar; Nathan East, bass; Harvey Mason, drums; Sherree, vocal on "A Little Foreplay"

Yes, Please!

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Earl Klugh, Bob James - Two Of A Kind

Styles: Guitar Jazz, Post Bop
Year: 1982
File: MP3@320K/s
Time: 37:52
Size: 87,2 MB
Art: Front

(8:52)  1. The Falcon
(5:28)  2. Whiplash
(5:39)  3. Sandstorm
(6:51)  4. Where I Wander
(3:07)  5. Ingenue
(7:52)  6. Wes

Keyboardist Bob James and acoustic guitarist Earl Klugh struck gold with this session, recently reissued on CD. The formula hasn't changed much in succeeding years. Both Klugh and James are capable musicians; they demonstrated on this collection of light, innocuous melodies and occasionally interesting backbeats a high degree of professionalism. 

Klugh is a first-rate guitarist whose solos are concise and nicely delivered, but frequently sound thin. James' piano and electric keyboard playing is a puzzling combination of flawlessness and lifelessness. ~ Ron Wynn https://www.allmusic.com/album/two-of-a-kind-mw0000622797

Personnel: Earl Klugh – acoustic guitar;  Bob James – keyboards; Gary King – bass; Harvey Mason – drums

Two Of A Kind

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Bob James Trio - Espresso

Styles: Piano Jazz 
Year: 2018
File: MP3@320K/s
Time: 58:39
Size: 135,7 MB
Art: Front

(6:04)  1. Bulgogi
(7:04)  2. Shadow Dance
(5:31)  3. Ain't Misbehavin'
(3:31)  4. One Afternoon
(6:17)  5. Mister Magic
(5:07)  6. Topside
(4:00)  7. II Boccalone
(7:38)  8. Mojito Ride
(4:14)  9. Promenade
(4:43) 10. Boss Lady
(4:26) 11. Submarine

Bob James wrote "Angela," the theme song to the popular late-1970s/early 1980s television show, Taxi, a feather in the cap that introduced his sound to millions of listeners who might not ever slip a jazz CD into the stereo. For those with an ear and a love of jazz, he is probably most familiar for his work with the group Fourplay and saxophonist David Sanborn, along with a three record, mid-1970s stint with Creed Taylor's CTI Recordings, and three Grammy Awards. And throw in an innovative and overlooked jewel of an album, Grand Piano Canyon (Warner Brothers, 1990), into the resume. The pianist/composer/arranger lays claim to ongoing relevance with Expresso, his first studio recording as a leader since 2006's Urban Flamingo (Koch Records). And it's a piano trio affair, perhaps the purest and most challenging of instrumental formats, into which he adds his characteristically James-esque spicings. As always, James' sound displays a refinement, a polished sophistication and crisp production values. He embellishes, beautifully, the "trio sound" at times with sweet, keyboard orchestrated, post-recording backdrops, much in the mode of the 1970s CTI recording style. And like all of James' offerings, the sonic concept maintains a first-to-last-cut cohesion. The disc opens with the James original, "Bulgogi," a straight ahead piano trio offering with a catchy, fast-stepping groove, light-hearted and lovely, leading into the dark-hued "Shadow Dance," a beautiful, inward-looking tune enhanced by subtle and deftly applied orchestration. "Fats Wallers' "Ain't Misbehavin,'" one of two covers on an otherwise all Bob James set of originals, gets a surprisingly modern-esque reshaping; and "One Afternoon" brings a solemn, pastoral mood to the set, and features the diaphanous gorgeousness of a whispering keyboard string section seeping into the trio sound. James closes the show with "Submarine," a close younger sibling to his 1974 composition "Nautilus," a tune that has sampled its way into the hip-hop world on recordings by Jay Z, Tupac, and Wu Tang Clan and more. "Submarine" finds James sampling himself and recording over his rhythms and unrelenting grooves, staying, in his seventh decade as a professional musician, as relevant as ever. ~ Dan McClenaghan https://www.allaboutjazz.com/expresso-bob-james-evosound-review-by-dan-mcclenaghan.php

Personnel: Bob James: piano; piano, rhodes; synths; Billy Kilson: drums; Michael Palazollo: acoustic bass; Luisito Quintero: percussion overdubs; Angela Seates: featured oboe soloist; Hugh Char: additional; drum programming; Dave Stewart: additional keyboards; Mark Falchook: additional keyboards

Espresso

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Hubert Laws - Morning Star (CTI Records 40th Anniversary Edition)

Styles: Flute Jazz
Year: 1973
File: MP3@320K/s
Time: 35:39
Size: 81,9 MB
Art: Front

(7:55)  1. Morning Star
(4:51)  2. Let Her Go
(4:34)  3. Where Is The Love
(4:59)  4. No More
(7:18)  5. Amazing Grace
(6:01)  6. What Do You Think Of This World Now?

Morning Star - Hubert Laws: Recorded in late 1972 between Hubert Laws’ well-known CTI classic The Rite of Spring and the 1973 CTI performance recording Carnegie Hall, Morning Star may be one of the least known of flautist Hubert Laws’ recordings and among his very best. It’s hard to imagine a more perfect setting for the flautist, surrounded as he is by Bob James (electric piano), Ron Carter (bass), Billy Cobham (drums) and Don Sebesky’s sumptuously employed arrangements for horns and strings. Laws alternates between several flutes (flute, alto flute, bass flute, piccolo and an uncredited electric flute) and shares solo duties with Bob James, who is simply magnificent here. Sebesky’s suberbly lovely work here ranks among some of the very best he ever did for CTI. Laws covers a typical program of third-stream jazz (Rodgers Grant’s title track), spirituals (“Amazing Grace”), pop covers (Roberta Flack & Donny Hathaway’s hit “Where Is The Love,” co-written by this album’s percussionist, Ralph MacDonald) and interesting originals (“Let Her Go,” “No More” and “What Do You Think of This World Now?”). Surprisingly, Morning Star has never been issued on CD before, making this particular release substantially significant due to its very first appearance of availability in nearly four decades. Plus, it makes for excellent listening as well.

Personnel:  Flute, Alto Flute, Piccolo Flute – Hubert Laws; Bass – Ron Carter; Bassoon – Jack Knitzer; Cello – Charles McCracken, George Koutzen, Lucien Schmit; Drums – Billy Cobham; Electric Piano – Bob James;Flute, Alto Flute, Clarinet – Phil Bodner; Flute, Alto Flute, Piccolo Flute, English Horn – Romeo Penque; French Horn – Jim Buffington; Guitar – John Tropea; Harp – Gloria Agostini; Percussion – David Friedman, Ralph MacDonald; Trombone – Garnett Brown; Trumpet, Flugelhorn – Alan Rubin, Marvin Stamm; Vibraphone – David Friedman; Violin – David Nadien, Elliot Rosoff, Emanuel Green, Gene Orloff, Harry Cykman, Harry Lookofsky, Irving Spice, Max Ellen, Paul Gershman; Vocals – Eloise Laws, Lani Groves, Tasha Thomas

Morning Star (CTI Records 40th Anniversary Edition)

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Hubert Laws - Crying Song

Styles: Flute Jazz
Year: 1969
File: MP3@320K/s
Time: 33:19
Size: 77,2 MB
Art: Front

(2:30)  1. La Jean
(3:23)  2. Love Is Blue / Sing a Rainbow
(4:53)  3. Crying Song
(3:21)  4. Listen to the Band
(3:07)  5. I've Got to Get a Message to You
(2:31)  6. Feelin' Alright?
(3:51)  7. Cymbaline
(6:08)  8. How Long Will It Be?
(3:31)  9. Let It Be

A landmark record the first album that flutist Hubert Laws cut for CTI, and the beginning of a very important partnership with the label! The record is a sublime exploration of sound and space very different than Laws' 60s Latin sides for Atlantic, and handled in a baroque mode that has his flute drifting over a mixture of organ, piano, and rhythms augmented with strings easy and jazzy in the same moment, with a hip sophistication that points the way towards a new flute sound in the 70s! Titles include "Crying Song", "Listen To The Band", "Cymbaline", "Feelin Alright", "I've Gotta Get A Message To You", "La Jean", "Love Is Blue/Sing A Rainbow", and "How Long Will It Be".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/60210/Hubert-Laws:Crying-Song

Personnel:  Hubert Laws – flute; Bobby Wood – piano; Bobby Emmons – organ; Bob James – electric piano, organ; George Benson, Reggie Young – guitar; Mike Leech – electric bass; Ron Carter – bass; Gene Chrisman, Billy Cobham, Grady Tate – drums; Ernie Royal, Marvin Stamm – trumpet, flugelhorn Garnett Brown, Tony Studd – trombone;  Art Clarke, Seldon Powell – saxophone;  Ed Shaughnessy – tabla, sand; Lewis Eley, Paul Gershman, George Ockner, Gene Orloff, Raoul Pollikoff, Matthew Raimondi, Sylvan Shulman, Avram Weiss – violin; Charles McCracken, George Ricci – cello; Bob James, Glen Spreen, Mike Leech – arranger

Crying Song

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Hubert Laws - Romeo & Juliet

Styles: Flute Jazz
Year: 1976
File: MP3@320K/s
Time: 37:50
Size: 87,6 MB
Art: Front

(6:12)  1. Undecided
(8:19)  2. Tryin' to Get the Feeling Again
(4:13)  3. Forlane
(7:43)  4. Romeo & Juliet
(5:36)  5. What Are We Gonna Do?
(5:45)  6. Guatemala Connection

Forget the Shakespearean reference in the title which might make you think the whole album's got a Renaissance bent because the album's a nice bit of funky flute jazz from Hubert Laws, done with the same groovy vibe as some of his earlier albums for the CTI label! The set was produced by Bob James, and has lots of strong James touches from the sweet work on Fender Rhodes and clavinet that works nicely with the flute on most tracks, to the full group rhythms that make the best tracks into nice smooth groovers! A few tunes get more introspective, in Hubert's Afro-Classic mode and titles include "Guatemala Connection", "What Are We Gonna Do", "Undecided", "Forlane", and "Tryin To Get The Feelin Again". 
© 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/856880/Hubert-Laws:Romeo-Juliet

Personnel:  Hubert Laws - Flute; Bob James - Fender Rhodes, Clavinet, Keyboards; Eric Gale, Richie Resnicoff, Barry Finnerty, Steve Khan - Guitar; Gary King - Bass; Andy Newmark, Steve Gadd - Drums; Ralph MacDonald - Percussion; Mark Gray - Clavinet, Keyboards; Alan Rubin, Randy Brecker, Jon Faddis, Marvin Stamm, Bernie Glow - Trumpet, Flugelhorn; Allen Ralph, David Taylor, Wayne Andre - Trombone; George Marge, David Sanborn, Howard Johnson, Phil Bodner, Jerry Dodgion, Harvey Estrin - Woodwinds; David Nadien - Concertmaster; Alan Schulman, Alfred Brown, Barry Sinclair, Charles McCracken, Emanuel Green, Emanuel Vardi, Guy Lumia, Harold Kohon, Harry Cykman, Harry Lookofsky, Matthew Raimondi, Max Ellen, Max Pollikoff, Paul Gershman, Seymour Barab - Strings; Denise Wigfall, Kenneth Coles, Robin Wilson, Shirley Thompson, Stanley Stroman - Vocals

Romeo & Juliet

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Stanley Turrentine, Milt Jackson - Cherry

Styles: Saxophone Jazz
Year: 1972
File: MP3@320K/s
Time: 37:50
Size: 87,3 MB
Art: Front

(6:38)  1. Speedball
(5:10)  2. I Remember You
(7:46)  3. The Revs
(6:04)  4. Sister Sanctified
(5:10)  5. Cherry
(7:00)  6. Introspective

One of the best CTI albums from the early 70s and one of Stanley Turrentine's funkiest records as well! The album's got a sharper edge than most other Turrentine albums of the time a quality that goes beyond Stan's already soulful approach to the tenor, and which brings in some tight changes and more pronounced rhythms that really give the best cuts a great groove! The group's a sextet with Bob James on electric piano, Milt Jackson on vibes, Cornell Dupree on guitar, Ron Carter on bass, and Billy Cobham on drums and titles include a monster version of Weldon Irvine's "Sister Sanctified" a great funk tune that's probably best known as the sample for "My Philosophy" by BDP! Other tracks include "Speedball", "Cherry", and "The Revs".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/1522/Stanley-Turrentine:Cherry

Personnel:  Stanley Turrentine - Tenor Sax; Milt Jackson - Vibes; Bob James - Electric Piano, Piano; Cornell Dupree - Guitar; Ron Carter - Bass; Billy Cobham - Drums

Cherry

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Bob James - Foxie

Styles: keyboards Jazz
Year: 1983
File: MP3@320K/s
Time: 33:18
Size: 77,1 MB
Art: Front

(6:46)  1. Ludwig
(2:50)  2. Calaban
(5:48)  3. Fireball
(6:09)  4. Zebra Man
(4:59)  5. Miranda
(6:44)  6. Marco Polo

Because so many of Bob James' albums have been devoid of integrity and epitomized musical prostitution at its most shameless, quite a few people in the jazz world (both fusionists and hard boppers) dismiss everything he's done since 1974. But it's best to judge the keyboardist on an album-by-album basis and not lump all of his releases together. Not a gem but certainly superior to Touchdown or Sign of the Times, Foxie has its moments. Some of the pop-jazz material is decent, including the delicate "Miranda," the reggae-influenced "Calaban," and the relaxed "Fireball." The playful "Zebra Man" employs David Sanborn on soprano sax; regrettably, he simply meanders and doesn't get a chance to stretch. None of the songs are brilliant, but with the exception of "Marco Polo," none of them are schlocky either. ~ Alex Henderson https://www.allmusic.com/album/foxie-mw0000645797

Personnel: Bob James - keyboards, synthesizer; David Sanborn - saxophone; Steve Khan - guitar; Marcus Miller, Will Lee - bass guitar; Peter Erskine, Steve Gadd - drums; Ralph MacDonald - percussion

Foxie

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Fourplay - Fourplay

Styles: Jazz, Crossover Jazz
Year: 1991
File: MP3@320K/s
Time: 61:36
Size: 142,3 MB
Art: Front

(5:32)  1. Bali Run
(5:56)  2. 101 Eastbound
(5:26)  3. Foreplay
(6:16)  4. Moonjogger
(5:33)  5. Max-O-Man
(5:03)  6. After The Dance
(5:43)  7. Quadrille
(4:44)  8. Midnight Stroll
(5:01)  9. October Morning
(6:11) 10. Wish You Were Here
(6:05) 11. Rain Forest

This CD was the debut for Fourplay, a popular quartet comprised of keyboardist Bob James, guitarist Lee Ritenour, bassist Nathan East, and drummer Harvey Mason. The music sounds more or less like a Bob James small-group date with Ritenour as a major soloist. The style is between jazz, R&B, and pop with an emphasis on lightweight originals, soulful and moderately funky rhythms, and predictable radio-friendly music. Nothing unexpected occurs, but fans of James and Ritenour should enjoy both this CD and Fourplay in general. ~ Scott Yanow https://www.allmusic.com/album/fourplay-mw0000391946

Personnel:  Bass – Nathan East; Drums – Harvey Mason; Guitar – Lee Ritenour; Keyboards – Bob James

Fourplay

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Fourplay - Esprit De Four

Styles: Jazz, Funk, Soul, Fusion 
Year: 2012
File: MP3@320K/s
Time: 55:01
Size: 126,6 MB
Art: Front

(7:46)  1. December Dream
(4:12)  2. Firefly
(7:11)  3. Venus
(4:12)  4. Sonnymoon
(6:08)  5. Put Our Hearts Together - Instrumental Version
(4:16)  6. All I Wanna Do
(7:05)  7. Logic Of Love
(6:22)  8. Esprit De Four
(4:26)  9. Sugoi
(3:18) 10. Put Our Hearts Together - Vocal Version

Bands don't last over two decades with minimal turnover in personnel and continued success if they're composed of egotists, prima donnas, drama queens or people that just don't play nice together. Fourplay has endured and thrived because it is an egalitarian coalition of seasoned professionals who set aside private agendas to serve the group dynamic. When a new guitarist joins Fourplay it typically takes their sophomore recording with the long-running band before they truly begin to fit in. In over 20 years there have been only three personnel changes, with original guitarist Lee Ritenour being replaced by Larry Carlton, who manned the spot for 12 years and seven albums, until he exited and Chuck Loeb became the "new guy" on Let's Touch the Sky (Heads Up, 2010). Stability has been a strength for this assemblage of veteran musicians even if consistency has led the band to be dismissed by critics little more than slick, smooth jazz. That was truer before than it is now as the Fourplay of 2012 bears little resemblance to the 1991 version despite three-quarters of the lineup being still composed of founders Bob James, Nathan East and Harvey Mason. James' keyboards are still at the heart of the group, but whoever the guitarist is gives it much of its soul, and on Esprit De Four a lion's share of the direction as well. Loeb is predominantly featured on the first four tracks and guides the group into making music that is too passionate to be "slick." Even when East takes his standard vocal turn on "All I Wanna Do," Loeb's guitar is front and center leading the way. This hardly means the rest of the band recedes into the background. Mason's "Venus" is lush and lovely with James and Loeb gently trading leads before smoothly dueting to the close. "Sonnymoon" is the closest these old pros come to sounding like "classic" Fourplay, as the Mason and East rhythm section keeps things fast and funky. It's just an excuse for four minutes of jamming, but let no one think Fourplay can't still get down when it wants to. 

If Loeb steps up to assert himself as primary soloist, James, who will turn 73 in December 2012, seems willing to relinquish some of the spotlight to Loeb, or at least doesn't seem the least stressed out sharing it. James has a deep fondness for Eastern culture and his two contributions, "Sugoi" and "Put Our Hearts Together," are evidence of that influence. "Put Our Hearts Together" (in both an instrumental and vocal version) is dedicated to the people of Japan in the wake of 2011's horrific earthquake and tsunami. Esprit De Four eschews the Fourplay formula of American chart-topping guest vocalists such as Anita Baker or Michael McDonald in favor of a demonstration of cross-cultural outreach, as Japanese superstar Seiko Matsuda to provides the vocals for "Put Our Hearts Together." The charge most frequently levied at Fourplay by its detractors is that the music is safe and formulaic. While it would be an untruth to say this is the most freewheeling quartet in jazz, it's petty to confuse popularity and acclaim with shallowness and superficiality. Fourplay cares too deeply about its music to be a cynical superstar band conceived as little more than a cash grab. ~ Jeff Winbush https://www.allaboutjazz.com/fourplay-esprit-de-four-by-jeff-winbush.php

Personnel: Bob James: keyboards; Nathan East: bass, vocals; Chuck Loeb: guitars, synths; Harvey Mason: drums, percussion, vibes, synths; Seiko Matsuda: vocals (10); Lizzy Loeb: additional vocals (1); Kenny Mason and the Voices of Praise Choir.

Esprit De Four

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Tom Grant - You Hardly Know Me

Styles: Piano, Vibraphone Jazz
Year: 1981
File: MP3@320K/s
Time: 47:35
Size: 110,2 MB
Art: Front

(3:52)  1. The Imposter
(3:52)  2. Heaven Is Waiting - Radio Mix
(3:58)  3. Whatever Feels Right
(3:47)  4. So Free
(3:45)  5. Workers of the World
(4:00)  6. You Hardly Know Me
(4:35)  7. High School Fantasies
(4:26)  8. Big Charlie
(4:27)  9. Brain Damage
(5:08) 10. Heaven Is Waiting - Extended Edit
(5:41) 11. Heaven Is Waiting - 12" Mix

Tom Grant, who has impressive technique and a likable style, has spent most of his recording career making music that purposely appeals to a wide crossover audience, combining jazz with pop and R&B. His father was a tap dancer who owned a record store and his older brother Mike played piano. When he was four, Grant began playing piano and drums. He graduated from the University of Oregon and then went to New York with Jim Pepper's Pow Wow band. He earned a masters degree in education and was teaching high-school social studies in Portland when Woody Shaw heard him playing at a weekend after-hours gig. Shaw offered Grant a job with his group and the experience soon led to more extensive work with Joe Henderson, Dexter Gordon, Charles Lloyd, and Tony Williams (1979-1981). Grant cut his first solo record in 1976 for Timeless and in 1979 he formed his own band, which was open to the pop music that the keyboardist loved. Starting in 1983 and continuing into the new millennium, Grant has recorded a lengthy series of poppish jazz-influenced dates (for labels including Chase, Verve Forecast, Shanachie, Double Play, and Nu-Wrinkle) that have variously fallen into the categories of new adult contemporary, quiet storm, contemporary jazz, and smooth jazz; all have been best-sellers in the jazz-lite market. In addition, Tom Grant has composed music for TV and radio. ~ Scott Yanow https://itunes.apple.com/us/album/you-hardly-know-me/306061964

Personnel: Backing Vocals, Piano, Synthesizer, Vibraphone, Percussion – Tom Grant ; Backing Vocals – Bob James ; Bass – Lester McFarland; Drums – Gary Hobbs; Guitar – Tod Carver; Saxophone – Gary Clinton; Trombone – Jeff Uusitalo; Trumpet – Laine Larson, Richard Burdell

You Hardly Know Me

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Grover Washington, Jr. - All The King's Horses

Styles: Saxophone Jazz
Year: 1972
File: MP3@320K/s
Time: 32:12
Size: 74,4 MB
Art: Front

(3:50)  1. No Tears, In The End
(3:49)  2. All The King's Horses
(5:07)  3. Where Is The Love
(3:05)  4. Body And Soul (Montage)
(4:25)  5. Lean On Me
(7:03)  6. Lover Man
(4:50)  7. Love Song 1700

Grover Washington, Jr.'s sophomore date for Creed Taylor's Kud imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto, and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. 

Then there's the gorgeous and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington -- who could inject pure soul into even the dullest music of Lawrence Welk  is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions.

~ Thom Jurek https://www.allmusic.com/album/all-the-kings-horses-mw0000314316

Personnel:  Grover Washington Jr. – tenor and alto saxophone;  Bob James – arranger, conductor, electric piano, Harpsichord;  Richard Tee – organ;  Arthur Clarke, Pepper Adams – baritone saxophone;  John Frosk, Alan Rubin, Ernie Royal, Marky Markowitz, Marvin Stamm, Snooky Young, Jon Faddis – trumpet, flugelhorn;  Paul Faulise, Tony Studd, Wayne Andre – trombone;  Brooks Tillotson, Donald Corrado, Fred Klein, Ray Alonge – French horn;  George Marge – alto saxophone, flute, English horn, oboe;  Cornell Dupree, David Spinozza, Eric Gale, Gene Bertoncini – guitar;  Margaret Ross – harp;  Ron Carter – bass;  Gordon Edwards – bass;Bernard Purdie – drums;  Billy Cobham – drums;  Airto Moreira – percussion;  Ralph MacDonald – congas;  Richard Dickler, Emanuel Vardi – viola;  Alexander Cores, Bernard Eichen, Irving Spice, Joe Malin, John Pintaualle, David Nadien, Emanuel Green, Gene Orloff, Harold Kohon, Harry Lookofsky, Joe Malin, Max Ellen, Paul Gershman – violin;  Charles McCracken, George Ricci – cello

All The King's Horses

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Ralph MacDonald - Sound of a Drum

Styles: Jazz-Funk, Latin Jazz 
Year: 1976
File: MP3@320K/s
Time: 35:59
Size: 82,5 MB
Art: Front

(7:04)  1. Sounds Of A Drum
(5:58)  2. Where Is The Love
(4:51)  3. Only Time You Say You Love Me (Is When We're Making Love)
(5:53)  4. Jam on the Groove
(4:18)  5. Mister Magic
(7:53)  6. Calypso Breakdown

New York session great and longtime Harry Belafonte percussionist Ralph MacDonald made his solo debut with Sound of a Drum, successfully fusing the strong Latin flavor of his previous work with the funk and disco sounds dominating clubs in bicentennial America. The title is no misnomer -- each song is a showcase for MacDonald's blistering percussion talents, but he never loses the humility and instincts of a sideman, allowing an expert cast including Grover Washington, Jr., Bob James, and Toots Thielemans their own turns in the spotlight as well. The eight-minute "Calypso Breakdown" is by far the best-known cut here, thanks to its inclusion on the mega-selling Saturday Night Fever soundtrack -- it remains a monster groove that's dated much better than many disco-era instrumentals, thanks in large part to William Eaton's clever, jazz-inspired arrangement and Eric Gale's ferocious guitar solo.~ Jason Ankeny https://www.allmusic.com/album/sound-of-a-drum-mw0000713033

Personnel:  Congas, Percussion – Ralph MacDonald;  Drums – Rick Marotta;  Guitar – Eric Gale;  Piano – Richard Tee;  Soprano Saxophone, Tenor Saxophone – Grover Washington, Jr.;   Soloist, Synthesizer – Bob James;   

Sound of a Drum

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Grover Washington Jr - Soul Box

Bitrate: MP3@320K/s
Time: 68:17
Size: 156.3 MB
Styles: Fusion, Funk, Soul Jazz
Year: 1973/2008
Art: Front

[ 3:42] 1. Aubrey
[13:17] 2. Masterpiece
[15:57] 3. Trouble Man
[ 6:04] 4. You Are The Sunshine Of My Life
[11:12] 5. Don't Explain
[ 9:54] 6. Easy Living Ain't Nobody's Business If I Do
[ 8:08] 7. Taurian Matador

Alto Saxophone, Tenor Saxophone, Soprano Saxophone – Grover Washington, Jr.; Arco Bass – Richard Davis, Ron Carter; Bass – Ron Carter; Bass Trombone – Alan Raph, Paul Faulise, Tony Studd; Bassoon – Donald McCourt; Cello – Charles McCracken, George Ricci, Seymour Barab; Drums – Idris Muhammad; Flute, Clarinet, Clarinet [Contra Bass], Bass Saxophone – Wally Kane; Flute, Piccolo Flute – Hubert Laws; Flute, Piccolo Flute, Clarinet, Bass Clarinet, Oboe, English Horn – Romeo Penque; Flute, Piccolo Flute, Oboe – George Marge; Flute, Piccolo Flute, Recorder – Harvey Estrin; French Horn – Brooks Tillotson, Jim Buffington, Peter Gordon; Guitar – Eric Gale; Organ – Richard Tee; Percussion – Airto, Dave Friedman, Phil Kraus, Ralph MacDonald; Piano, Electric Piano – Bob James; Trombone – Santo Russo, Wayne Andre; Trumpet – Bernie Glow, John Frosk, Jon Faddis, Randall Brecker; Viola – Alfred Brown, Emanuel Vardi, Theodore Israel; Violin – Charles Libove, David Nadien, Elliot Rosoff, Emanuel Green, Gene Orloff, Harold Kohon, Harry Cykman, Harry Lookofsky, Joe Malin, Max Ellen, Paul Gershman; Vocals – Barbara Massey, Bernard Thacker, Eileen Gilbert, Maeretha Stewart, Randolph Peyton, Bill Eaton.

The early work of alto saxophonist and composer Grover Washington, Jr. is a rare and beautiful thing to behold. His entire Kudu period, marked by the albums Inner City Blues, All the King's Horses, Soul Box, Mister Magic, and Feels So Good, is brilliant, solid urban groove jazz played with grace, mean chops, and slippery funkiness. Soul Box, a double LP recorded in 1973, has Creed Taylor's production enhanced by a symphony orchestra and full-blown jazz band arranged and conducted by Bob James. Some of the session men include Ron Carter, Billy Cobham, Eric Gale, Idris Muhammad, Airto, and Richard Tee. Soul Box only contains seven cuts. Among them are truly innovative reads of Billy Cobham's "Taurian Matador," Stevie Wonder's "You Are the Sunshine of My Life," a side-long jam on Marvin Gaye's "Trouble Man" (the album's centerpiece and masterpiece), and the deep funk of Norman Whitfield's "Masterpiece." "Trouble Man," however, is the cut on which all the contradictions of the session come to bear and are resolved due in large part to Washington's deeply lyrical improvising and James' ability to layer an orchestra into a groove. There are cadenzas written in after choruses that bring the orchestra in to accent the sketchy funk in the tune and bring out its deep blue hues. When Washington gets to the front of it all, he lets go like he's crying from the heart. On other tracks, the orchestra adds the right drama or sweetness -- as it does on Wonder's cut -- but Washington makes them grittier, with soloing that sidles up to the melody before reinventing it. For its length, Soul Box is a modern classic for its instrumental and arrangement invention and for its deeply emotional bounty. ~Thom Jurek

Soul Box mc
Soul Box zippy

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