| | Bob James Urban Flamingo CD Bob James Discography of CDs
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On most of these selections, pianist Bob James is in the spotlight, playing with a rhythm section and occasionally a guitar or a sax. The opener, "Choose Me," has James jamming over the chord changes of the blues and gives one hope that this will be one of his more substantial jazz dates. But no such luck. Most of the selections rarely rise above the level of lightly funky background music. Guitarist Earl Klugh drops by for "Fresh Start" and there is a pop vocal feature apiece for Hilary James and Nathan East. Overall, this is easy-listening pop/jazz, pleasant but forgettable. ~ Scott Yanow
After revisiting his straight-ahead jazz roots on 2004's Take It from the Top, legendary keyboardist/composer Bob James returns to his bread and butter smooth jazz sound on Urban Flamingo. This time around James digs into his synthesizer chops for a set of relatively tepid and pop-oriented tracks that have more to do with contemporary soft rock and R&B than actual jazz. To these ends, James' daughter Hilary James takes a pleasant vocal turn on "Lay Down with You," while the funky "Niles Ahead" does reveal James' more organic bent and harks back to his classic '70s albums. However, the majority of the journeyman artist's compositions here will do little to expand his audience beyond die-hard pop-jazz aficionados. ~ Matt Collar
Personnel: David McMurray, Hilary James , Nathan East, Ron Otis, Wayne Gerard.
JazzTimes (p.149) - "[T]here are plenty of James' Fourplay-like soft, acoustic piano interludes, which are supremely displayed on the sublime 'Niles Ahead.'" Bob James Urban Flamingo Songs Urban Flamingo Music Review Purchase Urban Flamingo CD To buy, Click on price to add to cart | VH1 Presents The Corrs Live In Dublin CD (2002)
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When this album appeared in 1994, the general reaction was, "It's about time!" Over the previous 25 or so years, Anthony Braxton had created several hundred compositions that, despite their unique combinations of beauty and complexity, were rarely covered. Even better, the two San Francisco-based groups who came together for this project took advantage of one of Braxton's major conceptual ...
| | Kevin McKinney Talking To Plants CD (2003)
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You can set your watch by it. Every Friday at 5:00 o'clock for the past nine years Austin's #1 rock station, KLBJ, has played the same song to kick off the weekend: Soulhat's "Bonecrusher".That's the kind of impact Kevin McKinney's band Soulhat had on Austin. He followed up the success of his band with his first solo album, last year's McVein In Green, which met with both critical and commercial success. Talking To Plants is his second solo record, and much like his first, was recorded almost entirely in his house, on a four-track, with Kevin playing all the instruments. What's amazing is that the record doesn't sound like one of those "recorded on a shoe-string budget in the bedroom" kind of records. Just the opposite really."I sometimes hesitate to tell people how I record - they tend to make assumptions about what it's going to sound like. My records are not what people have come to expect from the whole "one man, one four-track" genre."Kevin's journey to becoming one of Austin's most respected musicians has been the quint-essential long, strange trip - quite fitting for the lead singer/songwriter of Soulhat:"All I wanted to do was play drums as a child. My parents tricked me into trying guitar instead and it backfired on the them. "Walk This Way" pretty much started off my rock jones, and from there it was suburban Dallas heavy metal teenage hell: Iron Maiden, Judas Priest. And then I discovered the Sex Pistols, who came along and cleansed my metal palate, and then REM and some of those other bands took hold...".From there it was just a short walk from playing with his high school cover band over to the legendary Black Cat Lounge, and the genesis of Soulhat. "We had to play three hours, so we were forced to have a lot of tunes as well as quite a few extended jams. As a result, we evolved into this Allman Brothers meets the Dead kind of band. We toured a lot, and ended up signing with Epic Records. We had a great ...
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Saxophonist, composer, and visionary, Darryl Reeves is one of the nation's emerging young musicians with an eye towards change. Already capturing the attention of many established artists in the industry, Reeves is quickly presenting a new outlook in music. Captivating audiences throughout his performances, the heart and soul of Reeves his unselfishly poured onto them through his saxophone. Darryl Reeves was born in Jackson, Mississippi. From a musical family, he was exposed to many different styles of music. He said, " My father is known for his singing. My brother and sister are musicians too, so I was surrounded by music. My brother also plays the saxophone. I guess that is what motivated me to want to play it, too." His stay in Mississippi, was cut short when his family moved to Miami, FL. In his earlier days, he admits to not being very disciplined when it came to practicing. He was initially attracted to hip-hop, funk and r&b. He said, "I didn't practice the saxophone all that much. I spent time making tracks. We had these little rap groups at school and I wanted to be the producer. At the same time, my brother was introducing me to jazz music. He had Charlie Parker, Clifford Brown, Thelonious Monk and John Coltrane. Around that time, hip-hop was borrowing a lot of samples from jazz. Once I heard where those samples came from, Iwas blown away." In high school, Reeves spent much of his time studying music. One of his teachers quickly recognized Reeves' innate ability and introduced him to trumpeter Melton Mustafa, a former member of the Count Basie and Thad Jones orchestras. Mustafa held a jazz theory class at a cultural arts center on Saturdays. "He was tough. When the sessions were over, I always came out with a headache. But it paidoff," said Reeves.After graduating from high school, Reeves decided to return back to his roots. He received a full music scholarship to attend Jackson State University. He said, " Jackson was interesting. Because it being extremely laid back, I had a lot of time to deal with music. So I spent a lot of my time in the record stores there, ordering all these obscure jazz records. I also hooked up with a lot of local musicians." Some of those locals were the legendary bassist London Branch and drummer Alvin Fielder. "They taught me a lot about the history and meaning behind jazz music," said Reeves. He also studied with the late film composer Dee Barton, who taught him concepts of arranging and harmony. Through a visit to his alma mater, drummer Lumark Gulley met Reeves and they ...
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