Limiting Jose’ James to the genre of singer-songwriter is a colossal understatement. Twelve albums into his diverse career, James has proven himself an accomplished composer, producer, arranger and singer.
He stretched his wings and created Rainbow Blonde records with his wife and partner Taali. One would think he might retread some of his past successes but instead, James is taking yet another big career leap forward with On and On, a searching exploration of the music of Erykah Badu.
The album was recorded live in one take and features the stellar band of Ebban Dorsey on alto sax, Diana Dzhabbar on flute and alto, BIGYUKI on Fender Rhodes, organs and synths, Ben Williams on bass, and Jharis Yokley on drums sounds. It’s as if the band has been playing together for years, not the one day in June 2022 when On and On was recorded.
James’ interpretation and arrangement of Badu’s songs seem a perfect match to the talent he employed, as does his delicate phrasing. “On and On” opens this fantastic journey as Dorsey dances with BIGYUKI’s acoustic piano and James’s Tongue Drum and singing bowl. Dzharrar adds her magic as well. All this happens even before Jose’ James’ smokey vocals enter, singing Badu’s vivid and contemporary lyrics. Sit back and enjoy the ride, even if the subject matter isn’t the most optimistic.
“Didn’t Cha Know” allows Ebban Dorsey to step front and center. His alto and Ben Williams’s prominent bass part enhance the cosmic lyrics. James provides another perfect arrangement, which features the band in the mix while perfectly blending his restrained vocals. The message is chilling and welcome.
“Green Eyes,” the closing track from Erykah Badu’s timeless album Mama’s Gun, is represented by On and On in proper epic form. James’ arrangement of this neo-soul gem gives Dzhabbar ample room to stretch out on the alto sax, while emphasizing James’ evocative phrasing. Bigyuki’s piano and Yokley’s delicate brushwork send the song down a long blue road which shifts about one-third of the way through. Touches of the ’70s era with sounds and Williams’ slinky bass add to the sonic stew. Together, they build on the song’s central theme until a satisfying peak is reached. James then changes gears for the denouement. The new vibe adds to the near-perfection of the first two-thirds of the song.
Following such an adventurous and emotional track is a challenging task, but “The Healer” makes a commendable effort. This is a fascinating update of the original which appeared on Badu’s New Amerykah, Pt. 1 (4th World War). They forgo its electronic trappings, offering another opportunity for James to utilize his arranging acumen. William’s metronomic drums and Bigyuki’s Fender Rhodes do most of the heavy rhythmic lifting, while Dorsey’s alto solo builds in intensity along with the rhythm section. James provides his most laid-back and processed vocal, which is perfectly appropriate.
New Amerykah, Pt. 2 Return of the Ankh is represented by “Gone Baby, Don’t Be Long.” The original may be a perfect example of neo-soul, yet I can’t help but think that Erykah Badu’s lyrics would have been better served in a less sonically sterile setting. James’s arrangement provides just that. Williams’ bass parts are dynamic, and Yokley’s back beat dances around with just the right amount of space. James’ vocals are front and center, and the song has just enough acoustic piano and Dorsey’s alto to tread the R&B/jazz line.
“Out My Mind, Just In Time,” in its original form, also treads that line while highlighting the strength of Badu as a lyricist. James’ arrangement highlights the song’s smoky vibe. Bikyuki’s synth work recalls Hawk Woliknski’s touches from various Rufus albums. It’s less than three minutes long, leaving the listener begging for more.
The closing song, “Bag Lady,” only confirms the genius of Erykah Badu. The original, from Mama’s Gun, utilizes guitar and vibraphonist Roy Ayers for its vibe. James’s version provides a laid-back rhythm track, with Williams sounding particularly inspired on bass and Yokley providing a nuanced groove. James tackles his vocal with the confidence of a seasoned jazzer. Dzhabbar is given an opening to sprinkle additional instrumental magic with his flute. It’s a fitting end to a near-perfect journey.
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