One of the first releases on the resurrected Okeh Records imprint, 2013's Quartette Humaine features pianist Bob James and saxophonist David Sanborn performing a set of mostly original songs that walk the line between funky contemporary jazz and more thoughtful post-bop. It’s also the first collaboration between the two giants of contemporary jazz since their 1986 Grammy Award-winning album Double Vision. However, rather than revisit that album's funk and smooth jazz leanings, here James and Sanborn summon the spirit of the legendary Dave Brubeck quartet featuring saxophonist Paul Desmond. While they don’t play any Brubeck songs, the album was recorded with Brubeck's adventurous, often challenging acoustic jazz spirit in mind.
David Sanborn's saxophone complements Bob James' keyboards perfectly on the appropriately titled DOUBLE VISION. Sanborn, James, and bassist Marcus Miller all contribute compositions, and the listener encounters a wonderful variety of musical styles throughout the album's seven tracks. DOUBLE VISION opens on its highest note with Miller's "Maputo," a lush and moody song that highlights Sanborn's skills and sets the pace for the rest of the recording.
Album of American saxophonist David Sanborn (Florida, 1945) accompanied with keyboards and synthesizers by Robert M. 'Bob' James (Missouri, 1939). Since the release of his first album Sanborn has kept a line of becoming one of the most successful high saxophones on the market and establishing itself as one of the most influential R & B and pop from the 80s. This album has instrumental sextet format (saxophone, keyboards, bass, drums, guitar and percussion), intervening voice of Al Jarreau in the topic 'Since I fell for you', that was nominated in 1987 for a Grammy for best vocal male performance on R & B.
It was about this time in his career that one sensed David Sanborn was getting a bit tired of the formula he was using on his records. However, his great popularity kept him from changing direction much. As usual, the highly influential altoist blows his heart out over a lot of funky rhythms on As We Speak, but surprisingly, he switches to his less notable soprano on four of the nine tunes. Bassist Marcus Miller is a key force in the background, leading the expanded rhythm sections through some pop-oriented material that is appealing but not too substantial.
Bob James' recordings have practically defined pop/jazz and crossover during the past few decades. Very influenced by pop and movie music, James has often featured R&B-ish soloists (most notably Grover Washington, Jr.) who add a jazz touch to what is essentially an instrumental pop set. He actually started out in music going in a much different direction. In 1962, James recorded a bop-ish trio set for Mercury, and three years later his album for ESP was quite avant-garde, with electronic tapes used for effects.
Bob James' recordings have practically defined pop/jazz and crossover during the past few decades. Very influenced by pop and movie music, James has often featured R&B-ish soloists (most notably Grover Washington, Jr.) who add a jazz touch to what is essentially an instrumental pop set. He actually started out in music going in a much different direction. In 1962, James recorded a bop-ish trio set for Mercury, and three years later …
The two CDs forming Vol. 2 are also based on a new collection and edition of the extant musical materials. The order of the pieces on the recording initially adheres to the sequence of the chorale settings in the musicological edition. The result includes programs with special thematic Christmas, Passiontide, Easter, Psalm settings, and catechism songs. This new recording is an invitation to listeners everywhere to rediscover Pachelbel's versatility as a keyboard composer.