Legendary Pianist Bob James Returns to
Trio Format After Decade-Long Studio Recording
Hiatus as a Leader for Espresso
Album Features “Submarine” – Follow up to
“Nautilus,” the Track That Earned James’
Unlikely Godfather of Hip-Hop Status
Available August 31 via evosound (Evolution Music Group)
International Touring to Follow Album Release
“… Bob James is to jazz what James Brown is to R&B – the music
“… and the musician go hand and hand.” – NPR
“If you make beats or play an instrument, bow down.” – VICE Noisey
“…James solidified his place in jazz history with a certain touch on the keys
that’s influenced from the pianists he admired while being able to eventually
develop his own style that is often unmatched.” – Huffington Post
“He knew how to grab listeners instantly with a seriously funky intro.” – NPR
Scheduled to release August 31, 2018 on the evosound label (Evolution Music Group), Espresso is also James’s first studio recording as a leader since 2006’s Urban Flamingo. “Evolution Music Group presents high end and cutting-edge fidelity quality products, from packaging to audio,” says James. The album will be released on multiple formats including high quality 180 gram vinyl, MQA-CD, SACD, and hi-res audio download.
Though busy since 2006 with an array of projects, ranging from albums and appearances with the all-star contemporary jazz ensemble Fourplay to collaborations with David Sanborn, Keiko Matsui and other renowned artists, James hasn’t reclaimed his place in the spotlight as a solo performer — until now.
Inspiration for this project stems from a week-long engagement with sensational young bassist Michael Palazzolo and the respected veteran drummer Billy Kilson at the Blue Note in New York City last October. The musicians felt an immediate chemistry as they tackled standard repertoire as well as new James originals. Audiences sensed it too. “Soon everybody there was encouraging me to have the guts to jump in there and do this,” James recalls.
So, just two months later, the group reconvened at Stagg Street Studios in Van Nuys, California. With their inspired energy and musical bond the trio laid down the varied tracks that comprise Espresso. Two covers were on the list: an ear-opening reconfiguration of Fats Waller’s “Ain’t Misbehavin’” and an equally fresh perspective on “Mr. Magic” (which James had arranged and conducted on the 1975 Grover Washington session). The rest of the album comprises a stream of original material.
The rest of the tunes, penned by James, reflect the same inventiveness and musical fluency that persuaded Quincy Jones to become his mentor and champion in 1963, after which he went on to work with Sarah Vaughan from 1965-1968, prior to his ground-breaking work as a producer and arranger for CTI. His expressiveness through both writing and performance permeates the rocking minor-key blues of “Bulgogi,” the definitive cool jazz of “Topside,” the whispered beauty of “Promenade,” the turbulent, more complex yet supremely listenable “Mojito Ride,” and every other moment on Espresso.
Whether creating and recording the unforgettable theme of TV’s Taxi or ascending to unlikely notoriety as a source of samples for hip-hop legends, James has already left an indelible imprint on American music and culture. Espresso makes it clear that his contributions will continue, and that his impact will only grow in years to come.
