Extraordinary Facets: Boney James
I’m noticing that I’m leaning to the horns more and more in spotlighting, which I find rather ironic because I’m a lot more inclined to strings. But what can I say, if it strikes, it strikes.
A New England-born who transplanted into California, Boney James is a staple in smooth-jazz collections. His style is distinctly urban-contemporary; he’s versatile in tenor, alto and soprano saxophones and carries an undertone that I classify as the storytelling style, which I personally love. I think the following may go without saying, but what I find is that when a saxophone starts going romantic, about 75% of the time I hear a melody that completely takes away from the skill of the player, from the inspiration behind the song and puts a spotlight right into what the hell, turn that off, sap meter alert.
"Boney" James Oppenheim
Boney James, born James Oppenheim, does not do sappy. Oh, he toes that line on occasion, and if you heard the album Shine then you may see what I mean in Dedication, but his saxophone carries a bit of a spoken-word quality. It’s as though when he writes his music, he doesn’t think of the horn as an instrument, but as a person that is trying to say something.
The effect makes for a world of difference and this shows in abundance with both original compositions and his covers of the classics.
For instance, mosey over to Seduction, released in 1995 and get to the last track, the cover of Ain’t No Sunshine. You may’ve heard the vocal versions, you may’ve heard other covers, but – and this I can promise you! – this is by no means the way you would expect a saxophone to cover it. The instrument isn’t just playing, but singing it in a way that you would expect a vocalist; every emotional inflection behind the original lyrics is translated into a smooth, flowing, beautifully paced cover. That, ladies and gentlemen, takes skill and a lot of soul.
As I mentioned, I’m no romantic, habitually, but that cover sure as hell taps the sentimental side in me. Without setting off the infamous Sap Meter.
If you want to see what he’s really capable of, I strongly recommend Ride as your comparison. Where Seduction can count as a perfect background to Valentine’s Day, Ride taps the urban side and brings a hearty R&B flavor to the previously demonstrated capacity. See What I’m Sayin’ is a perfect strut-worthy track that once again channels a bit of a vocalizing tone to the instrument and adds a slick R&B beat to the story. As to what the story is, leave that to the listener. Another winner in the ‘not romantic’ department on that album is RPM, easily my favorite from the majority of his older albums. Tempting bass intro that explodes into an addictive, intricate piece that is perfect for a fast drive on a twisty road. Or a speedwalk through New York City streets, but your mileage may vary, as usual. :)
When he released his newest album, Send One Your Love, Boney James mentioned that he wanted to make it a ‘make-out album’. I was, truthfully, surprised. Why? Because seriously, going through his discography, I can pick out a makeout-session-caliber compilation just from his existing work. This isn’t an insult – considering I’m as far from romantic as they come, if I actually like romantic music, it’s a major, major stamp of approval. So when I got back from the cruise and iTuned it, I was very, very surprised.
Immediately, I was intrigued by his version of Stop, Look, Listen (To Your Heart) – a sentimental, borderline 3 on the Sap Meter (couldn’t help it, Boney, sorry!), but one that actually made me stop, look and listen, not to my heart but to the way that it’s played. I had to smile, if only because this set the tone for the majority of how the rest of the album flows. And when I heard City of Light (click for the Youtube posting of this song, you will not be disappointed), I only said one thing, “That’s what I’m talking about.” It’s a perfect story in a song, and if you live in a large city, or visited one, or walked in one, you will undoubtedly relate to it. I certainly did, in this vignette.
Boney James routinely features R&B singers, as well as multiple other artists, within his work. Now, I will confess that I do not like lyrical music anywhere near as much as I like instrumental, but in the true show of skill, he balances it well. 2006 Shine featured Dwele to great effect, but what impressed me most was, as in my usual style, something purely instrumental. Tenor saxophone and George Benson’s guitar spun into a delightful fabric of melody that was quite appropriately named: Hypnotic. Take a listen. Don’t be surprised if it lingers.
Have I seen Boney James live? Oh, yes. And just like on every album, he brings every facet of his creativity – from Sap Meter-setting romantic, to intricate stories-in-melody, to dance-worthy grooves – into his live shows. The energy that you may hear on the albums is one thing, but the way he translates it to stage, it’s something that defies my writing capacity. Very, very few things match the kind of party he’s capable of throwing.
Keep on keepin’ on, Mr. Oppenheim. Cannot wait to see what else you can come up with.
K.G.
