2013 « Fourplay

Tag: 2013

Bob James, Fourplay, & Chuck Loeb Are Taking Over Billboard’s Charts

by Veritas on Jul.30, 2013, under News

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Harvey Mason Prepares for New Solo Album

by Veritas on Jul.24, 2013, under News

Harvey Mason’s “Chameleon Project” is scheduled to go into the studio in August 2013.

The album will be released on Concord Records.

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Nathan East Teams with Daft Punk on “Get Lucky”

by Veritas on Jul.23, 2013, under News

The French duo Daft Punk have dominated the summer with the smash hit “Get Lucky” from their album ‘Random Access Memories’.

The disco drenched “Get Lucky” featuring N.E.R.D’s Pharrell Williams, Chic’s Nile Rodgers, and Fourplay’s world renowned bassist Nathan East, is the fastest selling single of the year.

In its first 2 weeks had already become the biggest hit of Daft Punk’s career, overtaking 2000’s club smash “One More Time”, and has become the first 2013 release to top 1 million in sales.

In fact, it is only the 136th single in the last 60 years to join the million sellers honor roll, which the track hit on it’s 69th day on sale, cementing its position as the biggest single of the year.

It’s pretty hard to argue that this is the official song of summer…

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Oakland, CA – 10/10/13 – U.S. – Esprit de Four World Tour – Yoshis Jazz Club

by Veritas on Jul.18, 2013, under Event

Event	Esprit de Four World Tour
When	Thursday, October 10, 2013 8:00pm - All Ages 10:00pm - All Ages
Where	Yoshis Oakland (map) 510 Embarcadero West Jack London Square Oakland, CA 94607 Oakland, CA, U.S. 94607

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Smooth, but with a Punch: Longtime Stars James, Sanborn Deliver Strong Performance

by Veritas on Jun.27, 2013, under News, Press &Reviews

OTTAWA — Scratch a veteran smooth jazzer and underneath you might find a jazzer.

So it seemed from Monday night’s TD Ottawa Jazz Festival concert by Bob James and David Sanborn. The two jazz stars, co-leading an acoustic group with drum legend Steve Gadd and rock-solid, scene-stealingly good acoustic bassist Scott Colley, played with not only crowd-pleasing accessibility but great intensity and sincere commitment, too.

While they might be renowned for a string of polished, funky studio efforts that opened the door for the vapidity of Kenny G and the smooth jazz ilk, James and Sanborn, while true to their signature sounds, were not making background music. The concert was certainly polished and smooth, groovy and bluesy, but smooth jazz in the elevator-music sense it wasn’t.

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