Bob James, Hip-Hop, Erin and Me…
Everyone talks about the history of our field and Quincy Jones has a lot to do with my history. You could even say he discovered me. He was very influential at several key stages in my career. He was a judge at a jazz competition that I did when I was still in college, and my group ended up winning the whole thing. Quincy then signed me to do a record called Bold Conceptions in the '60s. That, of course, was very important to me. Ten years later, when I moved to New York, I met Quincy again, and it was Quincy who introduced me to (producer) Creed Taylor, that launched my career with (record label) CTI. Those two things are extremely important to me and how my career played out. Quincy was definitely pivotal.Bob James
One (1974) signed by Bob
Creed's whole outlook on production was very influential to me. He always believed in hiring the best musicians possible and he put a lot of emphasis into the mixing and production value. He always used a fantastic engineer named Rudy Van Gelder. I can say that Rudy was very important in my development also. He cared about the way things sounded more than any engineer I've worked with. He also had a very identifiable sound. I've never thought that much about the recording process, just the composing and playing. But together, Rudy and Creed had a definite personality in all their projects. The combination of Creed's ears, how he listened to things, combined with Rudy's engineering style made them a great production combo. I'd always try to keep that same feeling in my works for many. many years after first working with Rudy and Creed.
Bob James
Gula Matari (1971) signed by Bob
This song is the most ironic thing of all. It didn’t get any attention when the record came out in the ’70s. Then as years went by, I found out that the hip-hop field was heavily sampling it. Of course it was the LP era, so there’s a side A and side B. Oftentimes, producers would put what they consider to be the best cut on the beginning of the A side because the audio is much better on the outer ring of a record. The grooves were wider and just other technical stuff like that. The songs that would be “attention getters” were placed on the outside of the record, and “Nautilus” is hidden at the end of side B, so that should give you an indication that we didn’t pay much attention to it. I had written several compositions of my own, primarily so I could get my own copyrights of the album and this was just another one of those compositions. It’s a real simple tune because I was just looking for a nice groove to improvise on. I had a great rhythm section that was in the studio that day so we were just having fun.
“Nautilus," sampled by more than 350 hip-hop artists!
Two (1975) signed by Bob
I’ll listen to the track that is sampling my tune. That way I can make an intelligent decision on whether or not I’m going to allow it. I still get requests for sample clearances all the time. It’s lessened through the years to a certain degree, but I still get requests to this day and it still surprises me. The coordination of the requests has become more well-organized, and simplified, than it used to be. We have a basic formula now for how we treat requests. Record companies are better about the approach nowadays because there have been too many lawsuits and they’d lose money if they did it the wrong way. Fortunately, almost all the records where there have been sample requests, I am the record company. I am the artist, record company, and composer by law, so I control all the publishing rights and fortunately, make a lot of the decisions… There is really only one significant piece where I don’t have the final say, and that’s “Angela.” I don’t know if younger people remember, but it was used for the television show Taxi. I heard it's also been sampled by some hip-hop artists recently, but the television company owns those administration rights. Of course, for a song like “Take Me to Mardi Gras,” they have to get permission from Paul Simon’s publishing company too, since I didn’t write it. Technically, I just control the recording of my version, so something like that is more of a joint effort, but that’s rare.
Bob James on sample clearanceS
BJ4 (1977) signed by Bob
Creed Taylor really liked the idea of taking classical music and adapting it to jazz or funk. This song gave me an opportunity to work with a larger ensemble of musicians. Especially for a piece like this, there was a huge orchestra and a big brass section. It also was one of the early recording sessions of Steve Gadd who became very respected in our field. He was one of the most well-known jazz drummers and “Night on Bald Mountain” featured him pretty prominently. Steve often credits this tune as helping him establish his reputation because so many people heard him on this. I’m very proud of that. Steve and I have remained very close friends since.
Bob James on his version of Mussorgsky's "Night On Bald Mountain"
Blues Farm (1970) signed by Bob, Ron Carter
I was not always a jazz music snob, I seemed to have been born and raised that way. My love for music happened at an early age. I was surrounded by sounds, my grandmother and mother played piano, and my father played saxophone, although I never heard him play. He talked about it a lot, like he talked about a lot of things! There was a record player spinning Herb Alpert's "Whipped Cream", Roger Williams' "Georgy Girl", Louis Armstrong's "Mack The Knife", or anything by Frank Sinatra. There was always music, even as it emanated from a sturdy, faux mahogany Magnavox console which doubled as a sideboard during holiday meals, or as a bookshelf and cabinet long after the electronics failed. It was as much a part of the fabric of 1960s and 1970s entertainment as anything.
In 1973, our family took a summer vacation to visit Washington, DC where we saw all the major tourist attractions and museums. As we made the winding and torturous drive from Massachusetts, my two older brothers and I bickered incessantly In the back seat of my father's Cadillac. The fighting ceased when we went to the Smithsonian. The Smithsonian Collection Of Classic Jazz, a six lp box set had just been released, a treasure trove of brilliant songs, from Scott Joplin's 1916 "Maple Leaf Rag" to Louis Armstrong and his Hot Five's seminal 1920s recordings to deep cuts from Duke Ellington, Charlie Parker, Coleman Hawkins, Dizzy Gillespie, Miles Davis, Thelonious Monk, and Sonny Rollins. My dad purchased this collection at the gift shop for the princely sum of $25 - the best $25 he ever spent. The liner notes were brilliantly written and annotated by jazz scholar Martin Williams, and when we got back home, I dove into the deep end of classic jazz with this wonderful collection and, in many ways, I have yet to emerge. It remains a fabulous primer for any music enthusiast.
Heads (1977) signed by Bob
After listening to this incredible music by these fabulous musicians, I started buying records recklessly while scouring the liner notes to glean more information. This voracious obsession intensified when I went to college in Boston, where there were innumerable record stores and jazz clubs to slake my seemingly insatiable thirst. But my jazz sensibilities were rather parochial - Miles, Sonny, Dizzy, Duke, Monk and Bill Evans. While I could admire the fusion of Miles Davis’ Bitches Brew, Chick Corea’s Return To Forever and Herbie Hancock’s Headhunters, I was strictly straight ahead hard bop, Blue Note preferably, if you please.
So when Wynton Marsalis came on the scene in the early 1980s, playing Miles circa 1958 replete with bespoke suits, I thought I had heard and found a kindred spirit. In reality, I was becoming an insufferable and unyielding bore. Rather than embracing change and creativity which is the essence of jazz and improvisation, I was stuck in a time capsule and turned my nose (and ears) at anything modern, especially smooth and contemporary jazz, the purview of Bob James, David Sanborn, Kirk Whalum and the quintessential schlockmeister Kenny G, the bane and scorn (rightfully so!) of any jazz aficionado. Fortunately, my arrogance has lessened over the years, my ears have widened and I have come to appreciate a broader listening palette of the music which we call Jazz. Heck, I have even seen David Sanborn and Bob James recently and they blew me away with their compositions, skill and virtuoso musicianship. Since I have already written about David Sanborn, let's talk about Bob James...
Smackwater Jack (1971) signed by Bob, Monty Alexander
Born in Marshall, Missouri on Christmas Day 1939, Bob began playing piano at age four. His first piano teacher, Sister Mary Elizabeth at Mercy Academy, discovered he had perfect pitch and soon, Bob was gigging around the Marshall area playing professionally as a teen. Initially, Bob attended the University of Michigan before transferring to Berklee School of Music in Boston. While studying music, Bob entered his band in a jazz competition which was judged by Quincy Jones and Henry Mancini. Bob's band won which led to Quincy producing his first album Bold Conceptions in 1964. The album was a commercial flop, more free jazz explorations than the smooth grooves for which Bob would later become revered. No matter, it got Bob off the schneid, and Quincy hired Bob to arrange, produce and record with George Benson, Ron Carter, and Hubert Laws. Along the way, Bob met maverick producer and record label owner Creed Taylor who offered Bob a chance to record a solo album on his record label, CTI.
Touchdown (1978) signed by Bob
The success of One, Bob's debut album on CTI released in 1974, led to unprecedented acclaim and his subsequent albums, cleverly titled Two, Three, and BJ4, are among the most sampled albums in the history of hip-hop. How a bookish, mild mannered, midwestern piano savant became the darling and avatar of hip-hop artists is truly remarkable. According to whosampled.com, more than fifteen hundred samples of Bob's compositions have appeared in songs by Run-DMC, Beastie Boys, A Tribe Called Quest, Danny Brown, Ice-T and the Wu Tang Clan among so many others, as unlikely a group of collaborators and co-conspirators as you can imagine. You wouldn't think that Ghostface Killah would have much sympatico with Bob James, but you (and I) would be wrong!
For his part, Bob is gracious about all the fuss, "Life has treated me real well. Being a part of rap history is just another extremely good thing that's happened to me in my career. I've heard about other composers of my era who don't like their work being sampled or touched, but I've never felt cheated. I mean, sampling gave my work a life of its own without me being in the creative process at all. I'm just a bystander watching it happen. It's a bit strange, but it's a good thing because of the exposure, In many instances, it led hip hop listeners who've recognized certain samples to dive into my additional works. And seeing how sampling isn't just a passing fad, or that it was done in a novelty kind of manner, makes me extremely flattered..." And I'm sure the steady flow of royalties from these artists continues to ease the burden!
All Around Town (1981) signed by Bob
In his prolific, sixty year career, Bob James has released more than fifty records as a leader, participated on hundreds of sessions as a sideman, won two Grammys and sold millions of records. His impressive discography also includes appearances with a myriad of artists including Chet Baker, Neil Diamond, Roberta Flack, Aretha Franklin, Paul Simon, Frank Sinatra, Luther Vandross, Sarah Vaughan and Dionne Warwick. Whew, that's a lotta work! An early adopter, Erin has been happily listening to Bob’s music since college and was always proselytizing his talents. I was less enthusiastic but my stance has softened considerably over the years. With her guidance (read: insistence), we went to see Bob at the Jazz Forum in Tarrytown, New York on November 5, 2021, a small venue with fabulous acoustics.
Jazz Forum, November 5, 2021 - Bob James, Michael Palazzolo, David McMurray
Bob was joined by a remarkable group of musicians: David McMurray on flute and tenor saxophone, Michael Palazzolo on Fender and upright bass, and the revelatory James Atkins on drums. Bob supplied his piano and unmistakable Fender Rhodes, and highlights included "Feel Like Makin' Love," a smash hit by Roberta Flack which Bob originally played on and was also covered on One, released just two weeks after Roberta's soul classic, "Westchester Lady," one of Bob's personal favorites off Three, "Bulgogi," a funky tune off Espresso which he said was, "named after a Korean dish that's not very good, but I love the way it sounds," and the finale, an obligatory rendering of "Angela," the ubiquitous theme from Taxi, an extended groove-filled work out. It was a great night of music from superlative musicians.
Lucky Seven (1979) signed by Bob
After the show, I visited with Bob in his dressing room and he was gracious while he signed a bunch of records. I mentioned that it was a thrill to see him perform in such an intimate venue, "Yes, thank you, I played this room once before, it was such a great time and the vibe feels really good, so I had to come back," he replied. I mentioned that I loved his record label Tappan Zee, named after the famous bridge, not far from The Jazz Forum, “Yes, I lived near here in Irvington for quite a few years. It's nice to be back home." Yes, it was a very, very nice visit, and a beautiful and inspiring night of music.
Double Vision (1986) signed by Bob
Bob James, a wonderful composer, pianist, an unlikely and unsung hero of hip-hop, thank you (and Erin!) for opening our ears with your vast talents. Long may he inspire others with his grooves! Now if only Ghostface Killah would sit in for a session!!!
Choice Bob James Cuts (per BKs request)
https://www.youtube.com/watch?v=pptFCbYuOIM
"Angela" (Theme From Taxi) Touchdown 1978
https://www.youtube.com/watch?v=gxxoN7_HhMw
"Feel Like Makin' Love" One 1974
https://www.youtube.com/watch?v=r0wMGQrWKNw
"Westchester Lady" Three 1976
https://www.youtube.com/watch?v=8aW9URHShCY
"Night On Bald Mountain" One 1974
https://www.youtube.com/watch?v=2XPfkYs6O8I
"Nautilus" One 1974
https://www.youtube.com/watch?v=RzTgfqTLWPI
"In The Garden" Bob James plays Pachelbal's Canon In D
https://www.youtube.com/watch?v=71tn9gF0dMI
“Rocket Man” Bob plays Elton John! 2022
https://m.youtube.com/watch?v=Ove38w3ztG4
“Take Me To Mardi Gras” Bob plays Paul Simon! 1975
https://www.youtube.com/watch?v=thJZ4dLuugE
“Westchester Lady” Live at Jazz Forum, 6 November 2021
https://m.youtube.com/watch?v=twVvFXwzOM4
“Mister Magic” Live at Jazz Forum, 6 November 2021
https://m.youtube.com/watch?v=mbbaeY1fCYs&list=PL_Q8ASk4N4-IW3lfQ5-ZL5ydr-f-c-ycJ&index=2
“Bulgogi” Espresso
Bonus picks:
https://m.youtube.com/watch?v=0A_tk_7kcPI
“Daytona 500” Ghostface Killah samples “Nautilus” 1996
https://m.youtube.com/watch?v=b0PhxOv_8D0
“Sincerity” Mary J Blige with DMX & Nas sampling “Nautilus” 2000
https://m.youtube.com/watch?v=va4uokENBks
“Hold It Now, Hit It” Beastie Boys sample “Take Me To Mardi Gras” 1986
https://m.youtube.com/watch?v=oo5-74dWGS0
“Peter Piper” Run DMC samples “Take Me To Mardi Gras” 1986
https://m.youtube.com/watch?v=eZqZschnrxM
“Straight Outta Compton” N.W.A samples “Take Me To Mardi Gras” 1988
Bob James at the controls, November 5, 2021 Jazz Forum
