If thirteen is lucky for some then all those who appreciate the enduring magic of the fabulous Fourplay will hit the jackpot with the band’s thirteenth CD, ‘Esprit De Four’ which will be released September 18 on Heads Up International, a division of Concord Music Group. In keeping with what has gone before the essence of ‘Esprit De Four’ is in the way, both individually and collectively, the players expertly interpret their own immaculate compositions and with writing credits shared around between band members Chuck Loeb, Bob James, Nathan East, and Harvey Mason, the album feels very much like a delicious throwback to the nineties and the early days of Fourplay.
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Let the “Esprit” move you! “Esprit de Four” is a Spiritual Experience
Twenty years and counting, the legendary group Fourplay releases yet another inspired work of genius that is nothing short of religious in its listening experience. Songs from the newest collection, ‘Esprit De Four’ is what makes music from Fourplay a pilgrimage to listening enjoyment. Envision the thirty minutes before a sunrise or the thirty minutes after a sunset, when everything in the world takes a moment to reflect in the peacefulness a sunrise and sunset offers, is one testimony to the ‘Esprit De Four’ experience.
The Soul and Jazz and Funk of “Esprit de Four”
Premier smooth jazz outfit Fourplay have been in business since 1991 when keyboard doyen Bob James set to work with drummer Harvey Mason, bassist Nathan East and guitarist Lee Ritenour to craft an album which successfully blended jazz with soul, R&B and pop. The success of that self-titled set encouraged the foursome to continue and though there’s been the odd personnel change (Larry Carlton replaced Ritenour in the mid 90s and Chuck Loeb replaced Carlton in 2010) the Fourplay sound remains essentially the same – that gentle, often soporific mix of light jazz and soul grooves that proved so effective back in ’91.
The ten tracker that comprises this new ‘Esprit De Four’ album follows the same template as most other Fourplay sets. As ever all four members contribute to the writing process with Chuck Loeb’s ‘December Dream’ kicking things off. It really is a definition of the Fourplay sound – quiet and understated but with a soulful depth that shows itself after a couple of plays. Loeb’s other contributions are the more upbeat and percussive ‘Sonnymoon’ and the laid-back ‘Logic Of Love’.
Nathan East is credited with two compositions – the loose and jazzy ‘Firefly’ and the lazy ballad ‘All I Wanna Do’ on which he takes lead vocal too… it’s a wonderful piece of late night romance saved from a sentimental overdose by a great but brief James’ piano solo and some bluesy playing from Loeb.
Harvey Mason is responsible for the LP’s title track – another cut that defines the band’s sound, and the lengthy ‘Venus’ which is built around an interplay between James and Loeb… quite ethereal.
Bob James wrote the album’s focal point – the dramatic ballad, ‘Put Our Hearts Together’. His response to 2011’s devastating tsunami, its poignant, restrained drama recalls the creations of Stephen Sondheim – a feeling more apparent, maybe, in the vocal version (words by daughter Hilary) sung by Japanese pop superstar Seiko Matsuda. James’s other contribution; ‘Sugoi’ is also influenced by Japan. It’s a simple piece – the album’s most basic; it’s what James intended. ‘Sugoi’, we’re told, means ‘nice, I like it’… and despite its inherent simplicity, that will probably be your response.
“Esprit de Four” takes Smooth Jazz for a Ride
If there is any one thing that defines Fourplay, besides being one of the most consistent and extraordinarily talented groups ever to grace the contemporary jazz scene, it is that the quartet has loads of class and, as the driving catalyst for one of the tracks on this newest album, Esprit de Four, demonstrates, compassion.
The referenced track is “Put Our Hearts Together” and is inspired by and dedicated to the March 11, 2011, Japanese earthquake and tsunami victims. Actually, there are two tracks—the instrumental and the vocal versions of the same tune. It is the group’s collective voice that should call to all of us to remember that we in America are not alone as victims of tragedies. All over the world, we are truly all in this together.
The music here on Esprit de Four (due for release on Sept. 18) is as richly Fourplay as ever. The stirring lead track “December Dream” is a very attractive piece featuring Bob James’ expert caressing of the ivories and Chuck Loeb’s steady chords and jazzy riffs.
Bassist Nathan East struts his stuff majestically on bass and provides some quality scatting to boot on the up-tempo “Firefly” while drummer Harvey Mason does rhythm some major justice on this same piece that features some clever timing.
“Sonnymoon,” written by Loeb shows the guitarist and James in another tranquil setting, deliberately leaning on every note with precision and poise.
The track dedicated to the Japanese tsunami victims starts out as a showcase of James’ mastery of the 88s then evolves into a full-blown nicely arranged six-minute straight-ahead number with Loeb’s sparkling runs, East’s walking the bass, and Mason’s classic and flawless handling of the timing. James’ daughter Hilary adds another dimension to this piece with her delightful vocals on the vocal version at the end of the album.
The title track is a smooth jazz mid-tempo jam that maintains the group’s tradition of including at least one such track.
A beautifully arranged album that is unmistakably all jazz in its finest form.
– Ronald Jackson
The Legendary Bob James Breaks It Down with Coffee Talk Jazz
Keyboardist, arranger, and producer Bob James has played a major role in establishing the smooth jazz genre.
“Angela”, the instrumental theme from the sitcom Taxi, is probably Bob James’ most well-known work to date. James is also a founding member of the Grammy winning jazz group Fourplay. … Continue reading
Urban Music is on the Scene with “Esprit de Four”
Contemporary Jazz group Fourplay Lays It On The Line With The Release Of New Project,
“Esprit De Four” on Sept. 18th, 2012
FOURPLAY CELEBRATES THE COLLABORATIVE SPIRIT
Esprit de Four explores the place where four unique perspectives become a single creative force…
Featuring “Put Our Hearts Together,” Bob James’ tribute to the victims of the devastating tsunami that struck Japan in March 2011.
When it comes to making music, four is often the magic number. From the Beatles to MJQ, many legendary quartets have made their mark in the classical, pop and jazz traditions. Maybe it’s the idea of four talented individuals, each approaching the other three from a unique perspective – like inspired travelers hailing from equidistant coordinates on a map – and bringing all of their talents to bear at a single point. Maybe it’s just the sheer mathematical symmetry and balance of the number itself.
Whatever the case, Fourplay has accessed that collective magic. Keyboardist Bob James, bassist/vocalist Nathan East, guitarist Chuck Loeb and drummer/percussionist Harvey Mason have tapped into the creative force that emerges when four brilliant players commit themselves to a singular goal. That symmetry and creativity are at the heart of Esprit De Four, their new CD set for release on September 18, 2012, on Heads Up International, a division of Concord Music Group.
“In the songwriting and recording process, we were building on the spirit we felt during the making of our previous record, Let’s Touch the Sky,” says James, recalling their first recording with Loeb in the guitar position. “We had made the adjustment to Chuck’s sound, and had really enjoyed performing the new music on the road. So we were eager to follow up on this new direction the band had taken.”
Loeb concurs, noting that Esprit De Four is a satisfying balance of the known with the unknown – not just for himself but for his bandmates as well. “We were all in the mood to make an adventurous CD with challenging music, but still maintain that unmistakable Fourplay sound,” he says. “We always try to have fun and keep our spirits united in the effort toward excellence in sound, production and musical content. I personally always want to bring the best songs and performances to my work with these three legendary artists whom I have the great fortune to be working with.”
Esprit De Four includes contributions from all four members of the band, beginning with the melodic “December Dream,” a song by Loeb that’s deceptively quiet and understated on one hand, yet fueled by its own unmistakable energy on the other. Loeb says the song may have started out in his own head, “but once we got into the studio, each guy just brought so much more to the table. Check out the counterpoint that Bob contributes to the middle section, Harvey’s 21st century orchestral snare drums, and the amazing vocals and walking bass line that Nathan does in the finale, and I think you’ll see what I mean.”
Loeb’s additional contributions to the set include the upbeat and percussive “Sonnymoon” (a composition dedicated to Fourplay manager Sonny Abelardo) and the gently atmospheric “Logic of Love.”
The highly elastic and intriguing “Firefly,” written by East and frequent collaborator Tom Keane, is inspired by a young jazz trio from Stockholm called Dirty Loops. “They’re great musicians and good friends of mine,” says East. “I was hoping to capture some of the same fun and energy and unique chord progressions that the trio band is known for, and Fourplay really delivered it.”
East and Keane also came up with the slow and smoldering “All I Wanna Do,” a nod to Fourplay’s more romantic side, written in the tradition of the Neal Hefti classic “Li’l Darlin,” which the band covered on their 1993 album, Between the Sheets. East’s sensual vocals deliver the song’s unmistakable invitation to a passionate interlude.
Mason’s “Venus,” built on an engaging piano/guitar interplay, is both cosmic and melodic at the same time. “It evokes the image of the thought-provoking planet of love,” says Mason. “The song is mentally seductive, with a warm, simple melody supported by transparent dissonant chords that together create a probing, ethereal mood. When I write ballads or love songs for this group, I can’t miss, because these guys are so extremely sensitive and romantic.”
The poignant but hopeful “Put Our Hearts Together,” was written by James – with lyrics by his daughter, Hilary James – as a tribute to the victims of the devastating tsunami that struck Japan in March 2011. The melody line delivered by the superstar Japanese pop singer Seiko Matsuda makes the song all the more personal and genuine.
“The people of Japan have been very supportive of my music for more than 30 years, and I’ve made wonderful friendships there,” says James. “When the tragedy struck, I was immediately motivated to do something.” He first performed the song at the Iwate Jazz Festival in Japan in September 2011, just six months after the disaster. “I attempted to compose something that would have a universal spirit. I could never have known how this song would grow and take on a life of its own as a result of its premiere performance last September.”
James’ other contribution is “Sugoi,” which is also influenced by Japanese music and culture, which James has gravitated to over the past few years. “Despite many attempts to learn the language,” he says, “I admit to knowing only the most basic conversational phrases. The title means ‘Nice…I like it.’ I hope people will say that after they hear the song.”
The title track, Mason’s second contribution to the album, closes the set with its anthemic vibe and unmistakable gospel undercurrent. “The guys clearly loved the direction the song was taking in the studio, so I went with it,” says Mason. “As the album came together, this tune – which remained nameless for the duration of the project – took on a feeling of unity, and I was honored when the guys named it ‘Esprit de Four.’ It’s truly amazing how things develop and take shape in this band. We always seem to be able to follow the path that unfolds when one is able to trust his instincts.”
It’s all part of the inexplicable thing that happens with four, especially when the four are as uniquely gifted as the individual members of Fourplay. Catch the spirit and the magic of Esprit De Four.
Photos by: Steven Haberland (www.stevenhaberland.com)
Bob James Chats Up Duck Radio
Bob James sits down with Duck Radio to discuss upcoming shows, musical collaborations, his impact on the history of Hip Hop, his personal ties to Japan and the relief effort, and the ever changing music industry…
Listen Below!!!
Bob James Interview 2-1-2012 (Part 1)
Bob James Interview 2-1-2012 (Part 2)
Bob James Interview 2-1-2012 (Part 3)
Three, Two, One… A Final Say with Bob James
“I’m flattered to be a part of hip-hop’s history,” says Bob James nonchalantly. “But I believe we’re still at the beginning of understanding how young people make music.”
Bob James’s career developed during a time when radio ruled, records sold, and Roberta Flack had the country’s number one song. Things were different then. Popular music was changing, and over in New York, kids were priming themselves for a burgeoning hip-hop scene. James was thirty-five by 1974 and had just released his first solo album on CTI Records. His subsequent projects for the label were both commercially successful LPs and unsung flops. Regardless of units sold, it was those very records that would lay the foundational sound for some of hip-hop’s most coveted records. It was those kids in New York who initially took James’s music and adapted it for themselves to use and the world to see.
James’s first three CTI releases—One, Two, and Three—are amongst the most sampled records ever. And if we’re truly beginning to grasp how younger generations make music, it’s safe to assume that James’s catalogue is a resource that’ll be continually sifted through and sampled from.
In this three-part interview, he talks in-depth regarding details of his career: The first part of the interview touches on colorful names that are intermingled with his history, its development and legacy. Next, he reflects back on his first three CTI releases, breaking down the most sampled songs on each album. In the interview’s final component, Bob James explains the process of sample requests throughout the years, its affect on him, and why he’s “flattered to be a part of hip-hop’s history.”
I. Quincy, Creed, and the Biz:
What role did Quincy Jones have in developing your career? … Continue reading
