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Bob James

Jazz Kat

By Jazz Kat
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JSngry Grand Master

JSngry

Posted
Posted

Hey - I'm looking at the AMG credits for Lucky Seven, and the drummers are Steve Gadd, Andy Newmark, and Idris Muhammed. Those guys (especially the latter two) could give The Moms snd Dads a little bit o'stank.

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JSngry Grand Master

JSngry

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Please do it then. Jazz-Funk. Instrumental, no vocals.

Try the first two Heath Brothers albums on Columbia. Not every cut, mind you, but I bet you'll find several things to your liking.

BTW - what you call "funk" and waht some of the rest of us call "funk" may not be the same thing. You seem to go for a more "urban" type of thing, less raw, more "slick" than the classic "funk", but still with that groove thing to it. Stuff you can dance to in a suit and tie, dig? That's cool, just know that terminologies, like mileages, may vary wildly! ;)

Guest youmustbe

Guest youmustbe

Posted
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That beautiful woman is, of course, Bob's daughter Hilary.

The records, many of them, are pop jazz, and 'easy listening', sometimes to a fault. But Bob has been performing with acoustic trios for the past 10 years...Whittaker and Drummond...Genus and Kilson...and recently with the Moutin twins, Francois and Louis.

To paraphrase Shakespeare, 'There is more to Jazz than what you hear on records, Horatio'

rostasi Mentor

rostasi

Posted
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Please do it then. Jazz-Funk. Instrumental, no vocals.

OK, so "jazz-funk" and not necessarily "soul-funk":

There's a ton to recommend, but, for what I think may be your style:

how about starting here with this series

and sample the individual cuts on Amazon

and then just go from there out:

Blue Break Beats

Some cuts will have some vocals,

but they're just dressing.

bertrand Enthusiast

bertrand

Posted
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I really haven't heard his music, but I got to hang out with Bob last week-end at the Monk competition and I have to say he is one of the NICEST guys I have ever met in the music biz. A very down to earth, unpretentious guy. We had a great chat concerning Wayne's 'Pinocchio' - even though I'm no musician, I really got a lot out of it.

You can check out this discussion in the musicians' forum. So far, only Rosco has picked up on it. I was hoping to hear from some of our 'musically active' friends on this one...

Bertrand.

Rosco Newbie

Rosco

Posted
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Ok, guilty confessions time...

I recently picked up a budget priced two CD set of Bob James first 4 CTI albums. There's a lot of dross on there (some quite laughably lame) but there's some genuine corkers too. James always seemed like a player who could have made some interesting music at the sharper end of things but chose to go a different- and certainly more lucrative- route.

I've always been intrigued by the idea that he made an album for ESP Disk'. Never have heard it though.

Edited by Rosco
Chuck Nessa Mentor

Chuck Nessa

Posted
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It's interesting (maybe) to note how many of Sarah Vaughn's accompanists of the 60s went into "other areas" of jazz. Bob James, Chick Corea, Jan Hammer, Karl Schroeder, who else?

What did she do to them?  :rfr  :rfr  :rfr

She had that kind of "effect" on lots of folks.

Strong woman, that one. From what I saw she could make me look for a job as a Wal-Mart greeter!

Aggie87 Collaborator

Aggie87

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The ESP side is kinda like the Ultimate Blindfold Test Material. Lots of musique concrete mixed w/free jazz.

From Wikipedia:

Musique concrète (French; literally, "concrete music"), is the name given to a class of electronic music produced from editing together fragments of natural and industrial sounds. It is the opposite of traditional composing (known to some as Musique Abstraite, literally, Abstract Music) as the sounds are recorded first then built into a tune as opposed to a tune being written then given to players to turn into sound. Concrète was pioneered in the late 1940s and 1950s, spurred by developments in technology, most prominently microphones, and the commercial availability of the magnetic tape recorder, utilized as tape loops.

Pierre Schaeffer, a Paris radio broadcaster, created some of the earliest pieces of Musique Concrète, including "Étude aux chemins de fer" ("Study with Trains"), "Étude au piano I" ("Piano Study I") and "Étude aux casseroles" ("Study with Baking Pans"). Each of these pieces involved speeding up, looping, and reversing recordings of sound sources like trains, piano and rattling cookware. Schaeffer also collaborated with another Musique concrète pioneer, Pierre Henry. Together, they created pieces such as "Symphonie pour un homme seul" ("Symphony for a Man Alone").

Concrète was combined with other, synthesized forms of electronic music to create Edgar Varèse's "Poème électronique". "Poème" was played at the 1958 Brussels, Belgium World's Fair through 400 carefully-placed loudspeakers in a special pavilion designed by Iannis Xenakis.

The fictitious 'twelve-tone composeress' Dame Hilda Tablet, created by Henry Reed, spoke of her creation of 'Musique concrète renforcée'.

After the 1950s, Concrète was somewhat displaced by other forms of electronic composition, although its influence can be seen in popular music by many bands, including The Beatles and Pink Floyd. Traditional and non-traditional Concrète experienced a revival in the 1980s and 1990s, artists like Ray Buttigieg experimental series "Earth Noise" and "Sound Science Series" uses found and intended sounds in old and cutting edge techniques, although modern sampling technology is now often used in place of magnetic tape.

Recently, the growing popularity in all forms of electronica has led to a re-birth of Musique concrète. Artists such as Christian Fennesz, Francisco Lopez, and Scanner use many Concrète techniques in their music while often being classified under more common electronica genres such as IDM or downtempo. Music magazines such as The Wire regularly feature articles and reviews of musique concrète.

Chuck Nessa Mentor

Chuck Nessa

Posted
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At her request, or in an attempt to hide?

Funny you should mention hiding. Last time I saw her was at the Chicago fest when I was "running" it. She latched on to the limo driver we sent to the airport and she would not let him go for a couple of days. This very pretty black guy looked to me for help and I had to bow out. Go SV!

Noj Newbie

Noj

Posted
Posted

For me, Bob is good for one track an album. On One, it's "Nautilus." On Three, it's "One Mint Julep." BJ4, "Tappan Zee." Like JSngry, on Lucky Seven I like "Look-Alike." The last album of his I have is Heads, and I like the track "Night Crawler." Funky instrumentals.

His early work with Grover Washington, Jr. is in the same vein, though the smoothish sax can bug at times. Feels So Good, Mister Magic, Inner City Blues, etc.

Jim Alfredson Enthusiast

Jim Alfredson

Posted
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Larry needs a new computer!

that is organissimo's fault?

we lost a bunch of people with the "upgrade" and everyone else is at fault.

No, Microsoft is at fault for making a shit-ass browser. And Apple is at fault for using it (they eventually got wise and started using one of their own).

I told Larry I would mail him a disc with Mozilla 1.2.1 for OS 9.x on it and I'll have my wife drop it in the mail tomorrow on her way to work.

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