Bob James & David Sanborn’s second effort is out to a strong start, making an impact on several charts recently.

Mediabase Smooth Jazz Chart (USA Today):   Debut at #31

Groove Jazz Music Chart:   #1 Increased Spins

“It’s been a lot of touring,” James said, explaining most of the touring he has done is with his jazz group Fourplay. “These days, in our business, live performances have become more and more important. We don’t sell as many CDs as we use to, people get their music in all kinds of different ways … It’s always exciting for me to play in front of a live audience and I’m happy about that.”

One of James’ most recent projects is an album with saxophonist David Sanborn, who grew up in St. Louis. James and Sanborn collaborated in the 1980s with a record called “Double Vision,” which James said was very successful.

“But we never followed up on it,” James said. “Finally, late last year, we decided that it was time for us to get back in studio to try and do something new.”

That record, titled “Quartette Humaine,” will offer listeners a smooth look back at the simpler music of early jazz, but with original music composed in part by James.

“We chose the very simple jazz instrumentation of his (Sanborn’s) alto sax, piano, acoustic bass and drums,” James said of the CD, which will be released May 21.

James, however, said when he comes to perform in Marshall on May 18, he will be going with the flow of his hosts.

“It won’t be my performance as such,” James said. “I’m bringing a few of my classic arrangements that I will be doing with the local musicians.”

James said he will be excited to return to his hometown after a busy year in which he has toured the United States and went to countries as far as Japan.

It was in Japan where, earlier this year, James was honored at the Jazz Japan Festival for his help in the relief efforts that helped the country cope with the tsunami of 2011.

“I learned about the tsunami of March 2011, but I also learned during that time that many artists who were booked to go to Japan to perform were cancelling out because of fear,” James said. “For whatever reason, I didn’t feel that same fear and I sent the word out that I wanted to go there and offer my support. I had the opportunity in September of that year to go to a small jazz festival that was just starting out, maybe even similar to the one in Marshall. As it turns out, I was the only American that went over there.”

James said ever since, the Japanese people have given him an immense amount of support for his music.

“Japanese people really, really appreciate when a foreigner cares a lot about their people and their culture,” James said. “They have given back to me in support far more than I was able to give to them.”

He said through touring the country and the world, he has realized music has the effect of bringing people together.

“I’m still amazed at the power that music can have,” James said. “Our instrumental music has a way of communicating that is in some ways more powerful than words because it’s just emotion. It’s not attempting to put feelings into words. It’s just expressing something that comes from maybe a different place in your mind. I feel so fortunate to have learned my craft in a way that has given me an opportunity to go to all these different places in the world, and hopefully bring inspiration to people through this abstract music.”

In Marshall, James is bringing more than his music. Recently, James began supporting a music scholarship that will be awarded each year to a music student in Marshall.

He said it was important to ensure those who are interested in music realize there are people who are behind them and support them in their dreams.

“Of course the most important thing is the legacy that we leave behind, the encouraging of young people to pursue an education, to get better with their music,” James said. “It’s the only way that our music will continue to survive. If we don’t do our part to encourage that, we are not doing our job.”

James also had words of encouragement, and caution, for those who wish to work in the music business.

“There are no shortcuts, really,” James said. “The harder you work the better you are going to be. But also, just enjoy that process at whatever level, even if you are playing in front of just your family, or if you are just performing in front of 10 people, give it your best and learn from that, how you fit into this world of music.”

He said people shouldn’t think of going into music for fame or money.

“There are only certain people that are destined to have larger fame, but that doesn’t mean that you can’t be making meaningful contributions to music even at that smaller level,” James said.

James said he is looking forward this weekend to catch up with old friends, including guest musician Mike Henderson.

“A lot of my memories from then have dimmed,” James said. “One of the things I look forward to when I go back to Marshall is refreshing that memory by meeting people that I knew back in those days.”

James said he intended to be at Marshall’s jazz festival for many years to come.

“I wish this festival’s continued success,” James said. “I hope I will still be coming down for it’s 10th anniversary and it’s 15th anniversary and on and on for as long as possible.”

 Source Article>>>

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Marshall is music: Bob James to lead second annual jazz festival in Marshall
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Bob James Jazz Festival: Jazz makes a comeback in Marshall
www.marshallnews.com/story/1731170.html

Online:
www.bobjamesjazzfest.org
www.facebook.com/BobJamesJazzFestival

Come experience the 2013 Bob James Jazz Festival in Marshall, MO!

FESTIVAL INFORMATION

TICKETS

This year’s headliners will be the D.J. Sweeney Quartet, one of the top jazz acts in the Kansas City region.  Enjoy a special set with Bob James collaborating with the quartet on stag!.

Schedule

5 p.m. — Gates Open and Food Served (BBQ Sandwiches served by Kiwanis Club)

6:30 p.m. — Clinic All-Stars

7:15 p.m. — Liberty Jazz Band

8 p.m. — Intermission with Presentations

8:30 p.m. — D.J. Sweeney Quartet

9:15 p.m. — Bob James set with D.J. Sweeney Quartet

10 p.m. — Meet & Greet Autograph Session

10:30 p.m. — Events End

The formidable contemporary jazz quartet Fourplay set it off at Rams Head On Stage in Annapolis on Friday night.

Closing in on 25 years together, the super group featured pianist Bob James, veteran session bassist Nathan East (Eric Clapton, Barry White, Phil Collins), drummer Harvey Mason (Herbie Hancock, Barbra Streisand, Notorious B.I.G.), and guitarist Chuck Loeb (Stan Getz, Chico Hamilton, Ray Barreto).

“All four of us have been in this business long enough to know that there’s always pressure to compromise, and we don’t want to do that,” says James of the group’s current lineup. “We don’t want to end up in the middle of the pack. We always aim to be leaders, and take the music to another level and raise the standards higher.”

For me, there is no better way to celebrate Jazz Appreciation Month than to enjoy a Fourplay concert.  We are talking about four remarkable musicians on one stage for a night of smooth jazz who can literally take your breath away. As noted for their individual jazz accomplishments as they are as a group, the four collaborate to create a sound superbly crafted and soothing to the soul.

The Birchmere Music Hall in Alexandria, VA, knows well how to seduce and prepare an audience. Sporting tantalizing entrees and appetizers before the show, there was approving chatter all through the hall. On the stage was all of the dazzling equipment that the contemporary jazz legends have mastered, just waiting  to fascinate the excited audience. The hall was filled to capacity as the band approached a rousing round of applause. Up came the spotlight, and it was on and popping. Let’s just say this band has redefined the meaning of synchronization. Read further, and, hopefully, you too will be in a state of awe.

Fantastic!

It was 8:00 pm, and the band set off a sizzling tune from the Esprit De Four album titled “December Dreams” to start the jam session.  Gracing the stage from left to right were renowned keyboardist Bob James, phenomenal bassist/vocalist Nathan East, the nimble-fingered veteran guitarist (who’d made quite a name for himself even before joining this dynamic band) Chuck Loeb, and the exciting, renowned drummer Harvey Mason.

Outstanding!

James then kicked off the popular up-tempo jam “Max-O-Man” from the band’s self-titled release. The tune was highlighted by Loeb’s expertly fluid guitar licks.

Next up, East began another super-popular track, “Chant,” from their 1993 Between the Sheets album — again featuring Loeb’s crisp guitar and spotlighting Mason for a drum solo for the ages. This time, each member graciously introduced the other.  From 2010’s Let’s Touch the Sky, “Gentle Giant,” a heartfelt tribute to the late Hank Jones, featured James and East (the latter playing upright bass) was most memorable.

Undoubtedly the best!

The track “Sonny Moon,” also from the Esprit De Four album displayed the artistry of James and East as they grooved back and forth.  These guys had the audience’s undivided attention and ultimately earned them a standing ovation.

Rhythmically masterful!

The funky up-tempo “101 Eastbound,” also from the self-titled release, had all the capacity crowd bouncing in their seats. Loeb’s guitar was flawless as he stroked the strings and pressed pedals that emitted everything he must have been feeling.  Mason was holding that steady groove as Loeb satisfied the audience in a rock star-like wide-legged stance note for note. Awesome!

Pleasure!

East was super hot on the vocals as he crooned the blues melody of “All I Wanna Do,” also from theEsprit De Four album.  This was the time to hold your significant other affectionately close. Somehow, smooth jazz just does that.

“3rd Degree,” from the Let’s Touch The Skyalbum, mesmerized the audience again as Loeb rocked the guitar, while East and James played off each other seamlessly. This time, Mason’s riveting drum solo was the highlight.  Holding the steady beat at first, then exploding into a high-hat frenzy, he  commanded attention as he dropped the funk on the listeners.

On the silky mellow tune “Bali Bun” from the self-titled release, James ran his fingers over the ivories again while East laid it down on the upright bass. The standing ovation was well-deserved.

Legendary!

As the foursome strode offstage at the end of their set, the audience asked for an encore, and the gentlemen obliged. Showcasing their chemistry, the band swayed the audience with “More Than a Dream” from the Let’s Touch The Sky album.  All four played for us what, for me, was one of the best encore presentations ever.

Awesome!

“Westchester Lady,” from their Heartfelt release featured the band playing this track with the spotlight moving from one soloist to the other, from left to right and back again. Starting at a slow pace, the groove started with James, to East, to Loeb, and to Mason. They steadily increased the song’s tempo to where all heads followed the spotlight on each artist from left to right rapidly, totally fascinating the audience. Never missing a note, the entire track flowed perfectly. Precision and entertainment at its best. This is the same band, never one to bore an audience, that mesmerized fans everywhere with their “freeze” move several years ago where it would simply freeze in mid-song (the tune was “Blues Force” from their Yes Please release, I’m sure) for what felt like a good 4-5 minutes, driving audiences wild, only to come back right where they left off!. Now, I strongly suspect that the spotlight play is the new attraction. Was it ever impactful!

Yes, we want more!

The DC/MD/VA was certainly granted what can arguably be the smooth jazz concert of the year. If one should question how four great jazz artists can create such a masterful and entertaining performance, just look at and listen to this ensemble.  Chatter around the hall after the show described these cats as supernatural.  As our own TSJR chief put it: “That is simply ‘crazy’ talent!”

As it took its final bow for the night, the band proved once again that their iron-clad legacy still withstands the test of time. Fourplay—the band of bands. – Mike Sutton

>>>Source Article

Photos by Dwynn Barr

Check out the Tour Schedule to see when they are coming to a city near you!

It’s the first collaboration between James & Sanborn since their 1986 Platinum-Selling, GRAMMY® Award-Winning Album, Double Vision, and features bassist James Genus & drummer Steve Gadd on the all-acoustic project.

OKeh released keyboardist-composer-arranger Bob James and alto saxophonist David Sanborn’s new album, Quartette Humaine, on May 21, 2013. The project is the first collaboration between the two musicians since their 1986 Platinum-selling, GRAMMY® Award-winning album, Double Vision. An all-acoustic quartet offering, Quartette Humaine pays tribute to the late iconic pianist-composer Dave Brubeck, putting a prime spotlight on his work that featured alto saxophonist Paul Desmond.

“David and I realized long ago that Double Vision had become more successful than we originally imagined it could be,” James says. “Ironically, although we’ve met in the studio, doing other people’s projects, we’ve never toured, or performed together live as a band. The exception was a midnight jam session at the Tokyo Jazz Festival a few years ago. We played just a couple of tunes, but it engendered the feeling that a reunion was way overdue.”

Quartette Humaine – Tracklisting:
1. You Better Not Go to College (Bob James)
2. Geste Humain (Alice Soyer)
3. Sofia (David Sanborn)
4. Follow Me (Bob James)
5. My Old Flame (Arthur Johnston, Sam Coslow)
6. Another Time, Another Place (David Sanborn)
7. Montezuma (Bob James)
8. Genevieve (David Sanborn)
9. Deep in the Weeds (Bob James)

On their second go-round, the old masters eschew the pop and R&B production values that mark large chunks of their respective discographies, and offer instead an all-acoustic quartet recital consisting of four new compositions by James, three pieces by Sanborn, and two James-arranged covers (“My Old Flame,” “Geste Humain”). Propelled by legendary drummer Steve Gadd and 21st century bass giant James Genus, the proceedings are reflective, swinging, chock-a-block with unfailingly melodic improvising and beautiful tonalities.

“At this stage of my life, I wanted more than anything to play music that’s challenging and fun, outside the style we’ve been associated with,” Sanborn says. “For various reasons, a lot of my records only reflected one side of the many kinds of music I was doing.” Over the past decade, Sanborn adds, his records “reflect a side of my sensibility that I hadn’t been expressing as much, paying respects to guys like Hank Crawford and David ‘Fathead’ Newman, who inspired me to start when I was a teenager in St. Louis.”

“We felt it’s far more exciting and adventurous to move forward,” James says. “Times have changed. The music business has changed. We have changed.”

It’s a poignant coincidence that the recording sessions occurred in December 2012, a week after the death of Dave Brubeck, who the protagonists were thinking of as they gestated Quartette Humaine. “We talked about the interplay of Brubeck’s quartet with Paul Desmond,” Sanborn says. Coming from that, I assumed we’d make a quartet date. I like being able to really hear all the individual instruments. We had this beautiful 9-foot grand piano, and you can hear its sound ring out. You get more sonic purity without all those other elements.”

Indeed, both the tunes and treatments channel Brubeck’s gift for creating communicative music from highbrow raw materials. “Dave has a similar capability to Paul Desmond—though in a different way—in that the lyric quality of the way they play takes it into an emotional-romantic concept rather than an intellectual one,” James says of Sanborn. “I felt—and I still do when I listen to the Brubeck quartet—that they were taking us on an adventure, and some of the adventure was challenging. Just when you thought you knew where you were going, they’d go somewhere different.”

It’s this adventurous, “in-the-moment” spirit that fuels Sanborn and James on Quartette Humaine. “It’s so much fun to do it this way,” Sanborn reflects. “I used to separate live playing from being in the studio, and got into a mindset of having to labor over a record and make it right. I want the studio to reflect that live experience—the fun of discovery, not knowing what’s going to happen until it happens.”

Upcoming Bob James & David Sanborn Appearances
June 6 / Town Hall / New York, NY
June 8 / Fraze Pavillon/ Kettering, OH
June 9 / Capital Jazz Fest / Columbia, MD
June 14 / Rotary Amphitheatre / Fresno, CA
June 15 / Thornton Winery / Temecula, CA
June 16 / Playboy Jazz Festival/ Los Angeles, CA
June 17 / SFJAZZ Center / San Francisco, CA
June 19 / Schermerhorn Symphony Center / Nashville, TN
June 20 / Jazziz Night Life / Boca Raton, FL
June 21/ Plaza Live / Orlando, FL
June 22 / Palladium Theater / St. Petersburg, FL
June 24 / Ottawa Jazz Fest /Ottawa, ON
June 25 / Toronto Jazz Fest / Toronto, CA
June 26 / Chene Park / Detroit, MI
June 27 / Rochester Jazz Fest / Rochester, NY
June 28 / Keswick Theatre/ Glenside, PA
June 29 / Freihofer’s Saratoga Jazz Fest / Saratoga, NY
June 30 / Hampton Jazz Fest / Hampton, VA
July 9 / Istanbul Jazz Festival / Istanbul, Turkey
July 12 / North Sea Jazz Festival / Rotterdam, Netherlands
July 16 / Montreux Jazz Fest / Montreux, Switzerland
July 20 / TBA / St. Moritz, Switzerland
July 21 / Montreux Jazz Fest / Montreux, Switzerland
August 7 / TBA / Haugesund, Norway
August 23 / Back Bay Amphitheater / Newport Beach, CA
August 24 / Mountain View Plaza / Snoqualmie, WA
August 25 / Esther Short Park / Vancouver, WA
September 4 – 5 / Blue Note / Tokyo, Japan
September 9 / Tokyo Jazz Festival / Tokyo, Japan
October 24 / St. Cecilia Music Center / Grand Rapids, MI
October 25 / Manchester’s Craftsman’s Guild / Pittsburgh, PA
October 27 / The State Theater / New Brunswick, NJ
October 31 / TBA / Zurich, Switzerland
November 3 / TBA / Salzburg, Austria
November 5 / TBA / Lugano, Switzerland
November 8 / TBA / Vienna, Austria
November 9 / TBA / Horsens, Denmark
November 14 / Leverkusan Jazz Fest / Leverkusan, GE

About Bob James
Discovered by Quincy Jones at the Notre Dame Jazz Festival in 1963, Bob James recorded his first solo album, Bold Conceptions, that year for Mercury Records. 58 albums and innumerable awards would follow through five decades. He honed his skills working with Creed Taylor, working on albums for artists like Hank Crawford, Grover Washington, Jr., among others. While with CTI, James found great popular success overseeing significant hits for Paul Simon, Neil Diamond, Maynard Ferguson, and Kenny Loggins. Additionally, James is a founding and current member of Fourplay, the distinguished contemporary jazz quartet. For more information on Bob James, please visit: bobjames.com

About David Sanborn
Saxophonist David Sanborn has released 24 albums, won six GRAMMY® Awards, and has had eight Gold albums and one Platinum album. Having inspired countless other musicians, Sanborn has worked in many genres that typically blend instrumental pop, R&B and lately, more and more traditional jazz. For more information on David Sanborn, please visit: davidsanborn.com

The first creative collaboration between keyboardist-composer-arranger Bob James and alto saxophonist David Sanborn, a quarter century ago, was the million-selling Grammy-winning album Double Vision. Over the ensuing years, the mega-stars not infrequently discussed the notion of a followup. But only now, with the release of Quartette Humaine (their debut release on Sony Classical’s just-reborn OKeh imprint), has that aspiration reached fruition.

“David and I realized long ago that Double Vision had become more successful than we originally imagined it could be,” James says. “Ironically, although we’ve met in the studio, doing other people’s projects, we’ve never toured, or performed together live as a band. The exception was a midnight jam session at the Tokyo Jazz Festival a few years ago. We played just a couple of tunes, but it engendered the feeling that a reunion was way overdue.”

One of those tunes was “Maputo,” the most famous track from Double Vision. “We’d both done it in various iterations with our respective bands, but this was so much fun, so different from those treatments,” Sanborn states. “That was my impetus. I wanted to do something very different than Double Vision, that would be about us just playing.”

After several months of preparation and discussion, Sanborn and James recorded Quartette Humaine in mid-December (2012). On their second go-round, the old masters eschew the pop and R&B production values that mark large chunks of their respective discographies, and offer instead an all-acoustic quartet recital consisting of six new compositions by James, three pieces by Sanborn, and a James-arranged standard. Propelled by legendary drummer Steve Gadd and 21^st century bass giant James Genus, the proceedings are reflective, swinging, chock-a-block with unfailingly melodic improvising and beautiful tonalities.

“We felt it’s far more exciting and adventurous to move forward,” James says. “Times have changed. The music business has changed. We have changed.”

“At this stage of my life, I wanted more than anything to play music that’s challenging and fun, outside the style we’ve been associated with,” Sanborn says. “For various reasons, a lot of my records only reflected one side of the many kinds of music I was doing.” Over the past decade, Sanborn adds, his records “reflect a side of my sensibility that I hadn’t been expressing as much, paying respects to guys like Hank Crawford and David ‘Fathead’ Newman, who inspired me to start when I was a teenager in St. Louis.”

Interestingly, James wasn’t fully sold on the notion of an all-acoustic environment for Quartette Humaine until the project was well underway. “I thought some of the songs might want to be produced, or have overdubs, or maybe strings, or other things associated with our earlier music,” he recalls. “But as it developed, the quartet vibe we created was so strong that it became more interesting to keep it that way.”

It’s a poignant coincidence that the recording sessions occurred a week after the death of the iconic pianist-composer Dave Brubeck, who the protagonists were thinking of as they gestated Quartette Humaine. “We talked about the interplay of Brubeck’s quartet with Paul Desmond,” Sanborn says. “Coming from that, I assumed we’d make a quartet date. I like being able to really hear all the individual instruments. We had this beautiful 9-foot grand piano, and you can hear its sound ring out. You get more sonic purity without all those other elements.”

Indeed, both the tunes and treatments channel Brubeck’s gift for creating communicative music from highbrow raw materials. “Dave has a similar capability to Paul Desmond—though in a different way—in that the lyric quality of the way they play takes it into an emotional-romantic concept rather than an intellectual one,” James says of Sanborn.  “I felt—and I still do when I listen to the Brubeck quartet—that they were taking us on an adventure, and some of the adventure was challenging. Just when you thought you knew where you were going, they’d go somewhere different.”

That “edge of being in an unknown place” permeates “Mondo Rondo,” on which James signifies on Brubeck’s 9/8 classic “Blue Rondo A La Turk” by creating “a fast, virtuoso tune on which we take the listener through a bunch of odd time signatures where they may not always know where they are.” He adds, “Steve Gadd flowed through it so effortlessly that I got worried it was sounding too smooth.” Another new opus, “Better Not Go To College,” reimagines Brubeck’s classic “In Your Own Sweet Way” “in mood though not exactly in style,” and references Brubeck’s breakthrough album Jazz Goes To College, which James recalls hearing as a high school sophomore in Marshall, Missouri.

Sanborn’s ravishing tone comes to the fore on James’ arrangement of “Geste Humaine,” composed by the French songwriter-singer Alice Soyer. On the American Songbook classic “My Old Flame,” addressed in 12/8, the altoist soars soulfully on the cushion of James’ elegant voicings and written thematic counterpoint bassline. He uncorks an ascendent declamation on “Montezuma,” which James composed “very specifically” for his partner. “I thought about supporting Dave’s sound with a symphony orchestra,” James laughs, describing the latter piece. “There’s dramatic tension that resolves in a very major, majestic way, with Dave way up in his upper register. But we realized that interpreting it in the raw quartet mode was even more powerful.”

The alto master presents his gift for melodic invention on his three compositions, offering a new ballad, “Genevieve,” for his granddaughter, and revisiting two tunes that Gil Goldstein framed with elegant orchestrations on the 2004 classic, Closer—“Sofia,” a ballad for his wife, and “Another Time, Another Place,” dedicated to Herbie Hancock.

“It’s so much fun to do it this way,” Sanborn says. “I used to separate live playing from being in the studio, and got into a mindset of having to labor over a record and make it right. I want the studio to reflect that live experience—the fun of discovery, not knowing what’s going to happen until it happens.”

By following such in-the-moment dictates throughout Quartette Humaine, James and Sanborn have produced another masterpiece. As James sums up: “We seem to be reflecting back on what our lives have been, where our earlier projects have taken us. We tried to figure out the strengths we’ve learned by experience, and to bring them to this project where we celebrate that we’ve done so many things and that we’re still able to keep creating.”