Bob talks about how Nathan’s bass became “The Anchor” of this extraordinary new album.
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Smooth Jazz Therapy is THE NEW COOL
Although the buzz surrounding ‘The New Cool’ by contemporary jazz keyboard player Bob James and bass-man Nathan East is all about ‘how different it is’ from the output we have come to expect from these icons of the genre, those who have been with Bob James for the long haul will instantly connect it with his 1990 project ‘Grand Piano Canyon’ on which East also featured. Make no mistake this is not smooth jazz of the sort which is the staple of outdoor summer concerts and as such will not be for everyone. However it is music to be played late at night, with the lights dimmed and with a glass of good red wine close to hand. Quite simply, this is music that epitomizes sophisticated jazz.
James and East produced ‘The New Cool’ with Yamaha Entertainment Group president Chris Gero as an acoustic set built around what is primarily original material but with a few select classics thrown in for good measure. The focus is to celebrate instrumental music being played in a real sense and for the listener to experience real instruments playing music in what might be regarded as the old-fashioned way. One interesting stand-out is an imaginatively-arranged version of Willie Nelson’s ‘Crazy’ with vocals in the unlikely but expert hands of country star Vince Gill.
Check it out. You might be surprised to find you like it.
Smooth Jazz Daily discovers THE NEW COOL
Play what you want! That could be the request to Bob James and Nathan East by Yamaha Entertainment Group label president Chris Gero. A studio full of Yamaha equipment and two legends to work with.
The New Cool shows an intimate duet between pianist Bob James and Nathan East on acoustic bass. Improvisation and melodic essentials are weighted equally. Oliver’s Bag helps the swing on the legs. Nathan’s acoustic bass is very present, you can hear the vibration of each string.
On All Will Be Revealed both play with different stylistic elements. Instrumentation, orchestral strings by the Nashville Recording Orchestra and Nathan’s celestial vocals are woven into a captivating whole.
Midnight Magic/Love Me As Though There Were No Tomorrow is designed to be a casual jazz medley. Vincent „Vince“ Grant Gill is a constant in the field of country music rewarded with numerous Grammys. He is the singer of Willie Nelson’s Crazy, which comes with a strong orchestral embellishment.
How Deep Is The Ocean leads us into the depths of human abysses, which are reproduced by Bob sensitively to the keys in all melancholy. Canto Y La Danza (Song and Dance) delivers an extensive rhythmical moment with percussionist Rafael Padilla and drummer Scott Williamson, which Bob and Nathan ideally complement.
Waltz For Judy recalls a romantic infatuation in the style of Chopin with some orchestral sugar. Seattle Sunrise brings another dream conversion, on which piano and bass merge with the certainty of a sleepwalker on the path of ancient archetypes.
Of all the pieces Ghost Of A Chance shows the most extensive symphonic implementation. Gershwin’s An American in Paris comes to mind. Jazz and classical music can be reconciled as Turbulence clarified.
Combining the best of the past while still exploring new and uncharted territory, is Bob James‘ motto. With his companion Nathan East he remains true to this habit on The New Cool.
Bob James: A Blue Note Snapshot
Bob James finished a tremendous week of shows at the legendary venue with Perry Hughes on guitar, Carlitos del Puerto on bass, and Clarence Penn on drums.
Don’t miss your chance to catch Bob James in 2015!
Bob James debuts Piano Concerto
BOB JAMES: PIANO CONCERTO: an appreciation by director Jack O’Brien
Bob James, the celebrated Grammy winning jazz musician and pianist, started out very legit. I should know… I was there at the University of Michigan where we both studied in the late 50’s, and even shared a couple of student residences along the way. He studied seriously under Ross Lee Finney there, and was making quite a name for himself, but the jazz bug was within him. Soon he was winning the Collegiate Jazz Festival in 1961 under the auspices of a guy named Quincy Jones, and the fat was in the fire.
Working with Creed Taylor in the late 60’s, a series of remarkable albums soon followed. And his dangerous riffs on such classical pieces as “NIGHT ON BALD MOUNTAIN’ caused more than a rippling effect.
In subsequent years, and over a stretch of time and artists, he began to take meticulous care of musicians like Sarah Vaughan, whom he accompanied for years, as well as Earl Klugh, Paul Simon, Dave Sanborn and others. All the while, he was steadily building one of the most recognizable and truly beloved niches in contemporary jazz, most notably FOURPLAY, which celebrates its 25th anniversary this calendar year.
All that time, below the surface, lay his formidable training and the feeling that in addition to cross-over jazz in all its ravishing components, he might have bigger fish to fry. Was there not a bigger canvas upon which he should paint? Could he dare? Should he?
And here it is: a world premiere concerto that pits classical modes against the astonishing vitality of jazz. A tradition that encompasses not only Gershwin, but Bernstein and Ravel as well. A necessary evolution in our exploration of just how rich and entertaining are seemingly rival modes of music, that might just well be opposite sides of the same beautiful coin.
The horrifying tsunami in Japan a few years ago elevated Bob’s sense of community, and he was called upon by his many fans there to help raise their crushed spirits. This is something he took very seriously, and which became a cause close to his heart. As a result, in this powerful work run parallel, pain and glory, suffering and laughter, conflict and hope, the stuff that makes magic out of loss, and gives proof to the fact that Bob James has much more to tell us…much more perhaps than we, or even he, could imagine. Embrace it!
Catch the debut at the 14th Tokyo Jazz Festival!
September 4 – 6, 2015
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Jazz Times: It’s Time for THE NEW COOL
Keyboardist Bob James and bassist Nathan East will release their first collabotrative outside of the group Fourplay album, The New Cool, Sept. 18 via Yamaha Entertainment Group. The recording, recorded in Nashville, was made using Yamaha gear exclusively. Produced by Chris Gero, the album consists of all-new original material and a few covers, including a version of Willie Nelson’s “Crazy” sung by country star Vince Gill. East and James, along with drummer Harvey Mason and guitarist Chuck Loeb, will also release a new Fourplay album later this year.
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Bob James and Nathan East: The New Cool
Half of the contemporary jazz group Fourplay, with pianist Bob James and bassist Nathan East, have recorded an album together which is unusual. Yamaha Entertainment Group label president Chris Gero put the two in the studio and provided them with “state of the art” Yamaha material and gave them a free hand. “The more I played with Nathan over the course of many live performances and stress more than 25 years, the more in sync we were Whether or not we had the anchor of the drums,” said James, who won two Grammy Awards, and is considered one of the founders of smooth and contemporary jazz. “Something special happens when, we only have each other’s notes to play off of, When the music is totally exposed.” East added: ” The New Cool ‘project carries with it a special level of excitement for me as Bob and I have been courting the idea of this duo adventure for many years “. He spent last year his solo debut, after he Daft Punk’s Grammy Award-winning “Get Lucky” was played. “I’ve always loved the sound of the piano and bass together, and have enjoyed duo recordings by the greats: Eddie Gomez and Bill Evans and Keith Jarrett and Charlie Haden. ‘The New Cool “is our celebration of more than 25 years of friendship and musical camaraderie. This collaboration was embraced by Yamaha Entertainment Group and producer Chris Gero, who overtook it to yet another level. “Their new album comes only on September 18, and includes duets with jazz piano and bass. It was recorded entirely in Nashville, and includes traditional jazz, with original tracks and some covers. Improvised dances around piano bass lines, and “All Will Be Revealed ‘enters the Nashville Recording Orchestra at while East adds vocals. A little further on is Willie Nelson’s ‘Crazy’ retreaded, with vocals by Vince Gill. On ‘Canto Y La Danza “goes somewhat Brazilian direction, and a percussionist and a drummer play. And “Waltz for Judy ‘they are supported by strings. The complex ‘Turbulence’ exit. A remarkable album with acoustic jazz. Patrick Van de Wiele (3½)
A remarkable, yet unusual album with acoustic jazz from half the group Fourplay.
Tracks:
1. The New Cool
2. Oliver’s Bag
3. All Will Be Revealed
4. Midnight Magic/Love Me As Though There Were No Tomorrow
5. Crazy
6. How Deep Is The Ocean
7. Song and dance
8. Waltz For Judy
9. Seattle Sunrise
10. Ghost Of A Chance
11. Turbulence
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Blue Note NYC Host Bob James All Week!
Bob James is in the middle of a week long stretch at the legendary Blue Note in New York City, from August 4 – 9.
Here is Bob hanging with the incomparable Hiromi.
Be sure to catch the Legend himself at a legendary jazz spot…It’s sure to be…wait for it………LEGENDARY!
Check out the Blue Note NYC for more info about the shows, or visit our TOUR DATES page.
Bob James & Earl Klugh at the Chateau Ste. Michelle
Bob James recently got together with Earl Klugh, Chris Botti, and Morgan James at Chateau Ste. Michelle for their Summer Festival of Jazz.
The show took place on July 25, and was truly the perfect combination of beautiful scenery and the magic of jazz.
Check out Chateau Ste. Michelle for more info about their summer jazz series.