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Jazz

Bob James Trio: Espresso

Espresso
Bob James Trio: Espresso
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For many, pianist Bob James will be remembered for his evocative theme song to the sitcom Taxi. But his musical chops are far weightier. A gifted player from childhood, he was mentored by Quincy Jones, who signed him to his first record deal. James was later a founding member of the lauded smooth jazz quartet Fourplay. But Espresso represents his first solo-led recording in over a decade. The tracks are classic James, heavily engraved with his trademark melodic flair. The music is open, upbeat, approachable jazz fusion and softer smooth jazz. Accompanied by Billy Kilson on drums and Michael Palazzolo on bass, James offers up a musical potpourri anchored by catchy, often romantic themes, pop and funk accents, and jazz diversions appealing to listeners of any persuasion. Sonically a recording of purity and naturalism, Espresso illustrates the strengths of the DSD format with a broad dimensional soundstage, a rich flow of ambience, and heightened low-level delicacy. The album is also available as a 180-gram LP, but the vinyl lacks the disc’s dynamism and the terrific “Ain’t Misbehavin’ cover.” In all respects the SACD turns out to be the way to go.

By Neil Gader

My love of music largely predates my enthusiasm for audio. I grew up Los Angeles in a house where music was constantly playing on the stereo (Altecs, if you’re interested). It ranged from my mom listening to hit Broadway musicals to my sister’s early Bob Dylan, Joan Baez, Beatles, and Stones LPs, and dad’s constant companions, Frank Sinatra and Tony Bennett. With the British Invasion, I immediately picked up a guitar and took piano lessons and have been playing ever since. Following graduation from UCLA I became a writing member of the Lehman Engel’s BMI Musical Theater Workshops in New York–working in advertising to pay the bills. I’ve co-written bunches of songs, some published, some recorded. In 1995 I co-produced an award-winning short fiction movie that did well on the international film-festival circuit. I was introduced to Harry Pearson in the early 70s by a mutual friend. At that time Harry was still working full-time for Long Island’s Newsday even as he was writing Issue 1 of TAS during his off hours. We struck up a decades-long friendship that ultimately turned into a writing gig that has proved both stimulating and rewarding. In terms of music reproduction, I find myself listening more than ever for the “little” things. Low-level resolving power, dynamic gradients, shadings, timbral color and contrasts. Listening to a lot of vocals and solo piano has always helped me recalibrate and nail down what I’m hearing. Tonal neutrality and presence are important to me but small deviations are not disqualifying. But I am quite sensitive to treble over-reach, and find dry, hyper-detailed systems intriguing but inauthentic compared with the concert-going experience. For me, true musicality conveys the cozy warmth of a room with a fireplace not the icy cold of an igloo. Currently I split my time between Santa Fe, New Mexico and Studio City, California with my wife Judi Dickerson, an acting, voice, and dialect coach, along with border collies Ivy and Alfie.

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