Fourplay

Life on Pause

by on Apr.01, 2020, under News

As we are all dealing with the C-19 situation, life is being drastically altered right now.  This is a time for us to work together to ensure everyone’s health.  Hopefully, we can all get back out there soon.  Please take precautions, and stay healthy.

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‘Still the One’ Instrumental Video

by on Jul.26, 2019, under Videos

“Still The One” from Fourplay’s album 4, their fourth studio album, released in 1998.

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fOURPLAY’s “Play Lady Play”

by on Jun.09, 2018, under Videos

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Fourplay feat. Phil Collins – Why Can’t It Wait ‘Till Morning (audio)

by on Feb.03, 2018, under Videos

Fourplay brought in Phil Collins to sing the lead vocal for their beautifully arranged version of ‘Why Can’t It Wait ‘Til Morning’. This song, originally written by Phil Collins, and was included in Fourplay’s third studio album, ‘Elixir’, with members Bob James (keyboards), Lee Ritenour (guitars), Nathan East (bass), Harvey Mason (drums).

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fOURPLAY & Berks Jazz Fest Presents: Remembering Chuck Loeb

by on Jan.11, 2018, under Event

berks-jazz-fest-logoOn April 7 & 8, Smooth Jazz JJZ presents Remembering Chuck Loeb.  The event will include Bob James, Nathan East, Harvey Mason, and Kirk Whalum, featuring Eric Marienthal, Rick Braun, Will Lee, Michael Franks, Dave Koz, Everette Harp, Jeff Lorber, Randy Brecker, Paul Jackson Jr., Chieli Minucci, Nick Colionne, Kim Waters, Gerald Veasley, Bill Evans, Mitch Forman, Brian Bromberg, John Patitucci, Andy Snitzer, Lionel Cordew, Ron Jenkins, David Charles, The Berks Horns and Carmen, Lizzy, Christina Loeb.
Portion of proceeds will establish Chuck Loeb Scholarship Fund.

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fOURPLAY’s 2018 Hiatus

by on Jan.07, 2018, under News

To our fans & supporters…

fOURPLAY has been blessed throughout the years with tremendous talent and comradery, and of course amazing fans which have supported us through this journey.  2017 has been an especially challenging year, with loss hitting the fOURPLAY family.  Out of respect for our friend and brother in music, Chuck Loeb, fOURPLAY will be taking a hiatus for 2018 to regroup for 2019.

A special thank you to Kirk Whalum for sitting in with us in 2017, and being an amazingly gracious part of the fOURPLAY family.

Stay tuned for updates, and thanks for your continued support.

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Happy Holidays from fOURPLAY

by on Dec.16, 2017, under News

 fOURPLAY would like to wish everyone a joyous and peaceful holiday season! Happy Holidays

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Bob James Trio with Randy Brecker at the Blue Note

by on Sep.02, 2017, under News, Press &Reviews

Bob James By TYRAN GRILLO
August 21, 2017
Bob James Trio with Randy Brecker
Blue Note
New York, NY
August 16, 2017

 

As part of a week-long residency at the Blue Note, legendary keyboardist-composer Bob James broke sonic bread with up-and-coming bassist Michael Palazzolo and faithful drummer Billy Kilson. The result of this communion was a head-nodding dive into one of jazz’s most hallowed oeuvres. As was clear throughout this performance, central to the bandleader’s commercial success—not counting the many times his music has been thrown into the genre blender of hip-hop—is his ability to forge bone-deep melodies and shine them through the lenses of simpatico musicians who care about everything they interpret.

The first three tunes of their second set put theory into practice, and then some. Two pianistic originals, “Avalabop” and “Night Crawler,” sandwiched the Fender Rhodes romance of “Feel Like Making Love.” Whether jumping headfirst into jaunty grooves or turning the lights down low, James approached even his best-known motifs with sheer enjoyment. Despite the distance of these classic tunes, he brought them to an immediate and intimate level of exchange that allowed freshness to flourish.

Read the full article here…

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Bob James at Blue Note NYC

by on Aug.27, 2017, under Event, Videos

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Bob James’ Blue Note NYC Show a Mastery of Improvisation

by on Aug.26, 2017, under News, Press &Reviews

Bob James

Bob James, an American original wrapped up a six nights gig at the Blue Note Jazz Club, New York City (August 15-20, 2017); and like Thelonious Monk, found ways of rummaging amongst his limitations and came up with a highly personal perspective in musical improvisation. (Photo by John R. Williams)

By Danny R. Johnson – Jazz and Pop Music Critic

BLUE NOTE CLUB – NEW YORK CITY – Bob James, the extraordinary jazz pianist, composer, and music producer, wrapped up a busy week at the Blue Note-New York City, from August 15-20, 2017, with special guest performers Randy Brecker (Trumpeter/Flugelhornist), Michael Palazzolo (Acoustic Bass), and Billy Kilson (Drums) sharing as headliners. The 10:30 p.m., August 20 show featured an enthralling 90-minutes cool jazz session with bassist Palazzolo and drummer Kilson.

It should be noted that Kilson has played with Ahmad Jamal (1989), Dianne Reeves (1989–95), Greg Osby (1991), George Duke (1991–98), Steps Ahead (1993), Tim Hagans (1993 and subsequently), Terumasa Hino (1994–98), Bob James (1995 and subsequently), Dave Holland (since 1997), Bob Belden (1997) and Kevin Mahogany (1998). Other associations include Kirk Whalum, Freddie Jackson, Chris Botti, Donald Brown and Paula Cole.

If James had one single mission, it was to stir the greatest possible emotion through the most advanced harmonic movement. From the onset of one of the eight selections performed that evening, the sold-out Blue Note Club patrons were caught in the sheer ecstasy of the Bob James phenomenon. The bass line, from the opening moment, reflected a mirrored image of the melody, at times staggering the rhythm of the theme mostly tracking it note-for-note. On the last phrase of the first verse of one piece, James hits a pedal tone, one of his favorite anchoring devices after a harmonic exploration, but then dissolves it into a transition into another key, where an even more probing examination of the song’s harmonic and rhythmic implications begins. As the beauty of the sound stirred the heart, the symmetry of the internal movement, with the notes in one chord each leading to those in the next, touched the intellect. Here, in first blossom, is the genius of James.

Throughout the entire evening, what the audience was witnessing was anything but remarkable and tantalizing. All of the selections captured the pianist in his earliest stages of development and transformation. The trio sticks to the conventions of the time by keeping the pulse steady and responding only minimally to cues from James; by the same token, during bass and drummer solos, James withdrew, playing occasional fills rather than interacting with the improvisation.

When Kilson took the spotlight, both James and Palazzolo stop playing altogether, in the old swing tradition of unaccompanied drum solos.

Two-time Grammy Award winning James had his musical roots honed from his humble beginnings in Marshal, Missouri. The minute he was discovered by Quincy Jones at the Notre Dame Jazz Festival in 1963, James recorded his first solo album, “Bold Conceptions,” that year for Mercury Records and never looked back. 58 albums and numerous of awards followed for the next five decades, and this cat ain’t letting up yet!

As demonstrated at the Blue Note, James displayed enormous versatility of musical idioms such as jazz, the Blues, R&B, and classical. James is known to have developed a unique relationship in finding common ground between classical music and jazz, conducted as part of his release of “J. S. Bach: Concertos for 2 & 3 Keyboards (1989).”

Continue Reading Source Article Here!

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