Joy Ride (CD)

• Category:  Music  »  Jazz  »  Piano
• Format: CD   Learn more about the CD format using Tower WIKI.
• Release Date: August 10, 1999
• Label: Warner Bros. Records
• UPC: 093624735526
• WAPI (Tower ID): 106413368
• Average Customer Review: There are no customer reviews yet. Be the first to write a review!
• Tower.com Sales Rank: #18766 in Music (See Top 100 Music Bestsellers)
• #1182 in Jazz (See Top 100 Jazz Bestsellers)
• #170 in Piano (See Top 100 Piano Bestsellers)

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Personnel includes: Bob James (piano, keyboards); Richard Bona (vocals, acoustic guitar, bass, percussion, programming); Jonathan Butler (vocals, nylon string guitar); Rasheeda (vocals); Dave McMurray (soprano saxophone, keyboards, programming); Kim Waters (soprano & alto saxophones); Boney James (saxophone); Chris Botti (trumpet); Jerry Hey (flugelhorn); Dave Mann (flute); Chuck Loeb (keyboards, guitar, programming); Marcel East (keyboards, drums, percussion); Tim Heintz (keyboards); Michael Colina (synthesizer); Norman Brown, Lee Ritenour, Nick Moroch, Tony Maiden, Wayne Gerard, Michael Thompson (guitar); Nathan East, Will Lee (bass); Billy Kilson (drums); Lenny Castro (percussion).

Producers include: Chuck Loeb, Paul Brown, Michael Colina, Marcel East, David McMurray.

Engineers include: Carlos Gunn, Don Murray, Ken Freeman.

JOY RIDE was nominated for the 2000 Grammy Award for Best Contemporary Jazz Performance.

James traipses from tight, funky ensemble workouts to soupy, unctuous melanges of sound that do for eardrums what sensual massages to for sore backs. Only a cynic won't fall for these 12 brightly colored instrumental cuts. As always, James has assembled the creme de la creme of studio musicians to help flesh out his keyboard noodlings into grandiose aural landscapes.

"Take Me There" floats its gentle streaks of Kenny G-like soprano sax across a backwash of keyboards, percussion, and heady bass (courtesy of "Late Show With David Letterman" band bassist Will Lee). Saxophone takes center stage on the deeply grooved "Raise the Roof," the instrumental tension of which arises from the alteration of sultry Brazilian rhythms and more orchestral and airy passages. And anyone who isn't drawing a bubble bath, preparing two glasses of champagne, and spooning out mouthfuls of beluga caviar during the downright erotic "It's All Right" has failed to grasp the song's raison d'etre.

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