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Boney James
w/ Special Guest Guitarist Jeff Golub
S aturday September 10th 7:30pm
In the Grove at the Radisson Sacramento
Summer Series Finale! Under the stars in the Grove at the Radisson, Sacramento
It's an interesting question: would Boney James have recorded Contact if he'd never had a car accident that damaged his teeth and fractured his jaw? In May, 2010, he was rear-ended while stopped by a driver traveling at high speed. Though he was back on-stage in three weeks, the accident caused James to think back on where he'd been in his career. He reflected on the period he spent backing the Isley Brothers, Morris Day, Randy Crawford, and Teena Marie before his solo offering, 1992's Trust, catapulted him onto the contemporary jazz scene.
Contact -- his debut for Verve Forecast -- indulges those influences. James produced and co-wrote every cut here, including the four vocal numbers. The first of these, "Close to You," features a stellar performance by Donell Jones; it is one of the album's true highlights. James plays plays his soprano, interweaving those silky vocal lines with gorgeous fills. Former Destiny's Child member LeToya Luckett sings on the lilting ballad "When I Had the Chance," Heather Headley appears on the slippery-grooved Latin-tinged "I'm Waiting," and Mario does a magnificent job on the dancefloor stepper "That Look on Your Face." James' own chops are fine as ever On the instrumental title track, he lets a slightly angular, syncopated, B-3-led rhythm section groove assert itself before smoothly entering and laying down the melody amid Rob Bacon's guitar fills and a bright-sounding, tightly arranged horn section. On "Cry," Dean Parks plays a nylon-string guitar, giving the cut an exotic flamenco feel before James breathily lets the melody flow from his tenor. With percussion work by drummer Teddy Campbell and Lenny Castro on congas and timbales, it streams forth in a rich, sensually arrayed meld of colors and textures. "There and Back" is a soul ballad where the saxophonist is the singer. It's lithe, silky groove is colored by hand percussion as James, with his canny sense of timing, tells a story on his horn. On "Everything Matters," the laid-back album closer, he plays tenor and alto, aided by Parks on electric guitar, Jimmy Johnson's keys, Campbell, and Castro. It's sweet and slow, but not sentimental, one almost hear Ron Isley singing to its melody.
Contact is a bright spot in James' catalog, and underscores his welcome return to recording.
(credit: allmusic.com)
Just Added : Guitarist Jeff Golub!
In the '90s, guitarist Jeff Golub's blend of jazz, R&B, and pop earned him a reputation for being one of the edgier, more tasteful players in the crossover jazz/NAC/smooth jazz field. Although some of Golub's recordings were played on smooth jazz stations extensively, he was quoted as saying that he refuses to play outright elevator music, and to be sure, Golub's solos give the impression that he is essentially a soul-jazz improviser at heart. The Ohio native (whose influences have included Wes Montgomery, George Benson, Lee Ritenour, and Larry Carlton, among others) is quite capable of playing straight-ahead bop; he certainly has the chops for it. However, Golub chose to focus on more commercial music and has a long résumé as a rock, pop, and R&B session player. He appreciates being compared to artists like David Sanborn, the Crusaders, Ronnie Laws, Joe Sample, and the late Grover Washington, Jr., that is, instrumentalists who can be commercial and groove-oriented but still have a jazz improviser's mentality.
Golub was born on April 15, 1955, in Akron, OH, where he grew up listening to a variety of R&B, funk, blues, jazz, pop, and rock and began playing the guitar as a pre-adolescent. In the '70s, Golub moved away from Akron to attend to the prestigious Berklee College of Music in Boston. But by 1980, he had relocated again, this time to New York City, where he was still residing 23 years later. It was in the early '80s that Golub was hired to back arena rock/hard rock star Billy Squier, and that association led to a lot of other session work. The list of major rock or R&B artists Golub backed in the '80s or '90s (either in the studio or on-stage) includes Tina Turner, John Waite, Vanessa Williams, Ashford & Simpson, Dar Williams, and former J. Geils Band vocalist Peter Wolf. In 1988, Golub was hired to back Rod Stewart, an association that lasted for eight years. 1988 was also the year in which Golub's first album as a leader, Unspoken Words, was released by the Gaia label, but at that point, he was still devoting most of his time to backing other artists. It wasn't until 1994, when Golub founded the band Avenue Blue, that playing as a leader became the guitarist's main activity. That year, Golub signed with Mesa/Bluemoon, and Avenue Blue's self-titled debut album of 1994 fared well in the smooth jazz/NAC market. Two more Avenue Blue projects were released by Mesa/Bluemoon -- Naked City in 1996 and Nightlife in 1997 -- but after that, he put the name Avenue Blue to rest. While Avenue Blue, Naked City, and Nightlife had been billed as "Avenue Blue featuring Jeff Golub," 1999's Out of the Blue on Atlantic was billed as strictly Jeff Golub. After that, Golub moved to GRP/Verve, which released Dangerous Curves in 2000, Do It Again in 2002, and Soul Sessions in 2003. A few years later, Golub made yet another move releasing Temptation on Narada in 2005. Grand Central followed in 2007. In 2009, Golub returned to his '80s rock roots with the electric blues album Blues for You showcasing vocals from such old pals as Billy Squier, Peter Wolfe and John Waite. (credit: Alex Henderson AllMusic.com)
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