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Glass back up again, wind whipping off the back wing, "Break It Out" is aptly named.  This is a strong and powerful song that is once again, different than what one would expect from Fourplay.  If I would categorize the sonics, it would be reminiscent of something from Bob's " Playing Hooky" CD but even that might be a bit of oversteer.  "Break It Out" comes on

like a storm trooper, lock stepping its way toward the objective of making da body rock.  Dropping bombs left, right, left, right, Fourplay's got their marching orders. Harvey taps and stabs on the punctuating hi-hat like a well-tuned fuel injector. With a dash or two of his own high-octane,

Nathan pops and Bob sprays the surrounding area with cover fire off his open throated Yamaha.  Larry covers Bob's run on the board while rolling riffs off his wrist and keeping things nice and fresh till the group drops

4 quarter notes like mortar shells hitting the pave-

ment. Parade rest and the group's point and purpose

is possessed, then the movement changes like a off

camber, 90 degree left turn and downshifts to a

rousing guitar solo by Larry, another quad-quarter

shout chorus, phrase break for a second or two and

it's up through the gears again.  "Break It Out is

a beautiful and bombastic blast of broken time with cross-rhythmic cross fire!

With my amp amply amped, track 4 spins up and we are "Rollin". This number is an earthquake on four wheels.  I set the cruise control at 72 or three and the kicker to kick ass. Bammin' bass barking like a St. Bernard, "Rollin" twisted up loud highlights Nathan rattlin' both my side and rear view mirrors so hard I can't make out what's behind me.  Quoting Nathan on Fourplay's website, "This band was established as a vehicle we could have fun with." He adds, "And this time we were being allowed to test our imaginations to the fullest." "We're here. We're free. Let's take some chances."  Keeping in line with the thought, I push on up to 100, passing three long haulers in the process. Hard hittin' Harvey's flamboyant flaring on his tom-toms made me think I thought I cogged a camshaft!  Bob's background soundscape melts and blends this song together like a L.A. interchange and his riffing bridge chords are a shift into overdrive. Just along for the ride on this piece, Larry bends strings so hard that they sound like their crying out for his submission. Pump this one y'all but you'd better check for loose bolts afterwards.

The first vocal on the CD made even ME blush.  Track five is titled "Let's Make Love" and is written by Nathan and Babyface and co-produced by Harvey. It captures my true essence of how I like to do things.  My personal catch phrase to others concerning my make-up is that "if you know jazz then you know me" because jazz can come so close to my heart and life's circumstances that it's scary sometimes.  Nathan's chorus request is that we make love " in the heat of the night", "in the bed on the rug to the door to the tub on the kitchen floor", "where ever it feels good, let's make love".  Damn! If that don't call your number, it ain't being called. What an invitation!

Track six is the CDs title cut. "Heartfelt" rightfully follows "Let's Make Love" and is a continuation on the theme. While were still glowing, you know how during the 'afterwards' you and your baby lay next to each other, staring at the ceiling, blowing smoke rings and kissing on earlobes? That's Heartfelt in a nutshell.  It's one of those tunes you listen to in a candlelit room focused on the flicker.  Sort of gothic in flavor, "Heartfelt" is definitely dark and lovely.  It is a stroke on a cheek, shoulders exposed, eyes cutting to meet the other pair; it's two recently made one and yes I do love you.  This is the only cut exclusively penned by Bob James for his Bobary Bop Music copy write group and it is a quiet cue acquired for

acquiescing a cute and quaint love making session.  It asks to be heartfelt by you also.  Larry plays acoustic accompaniment while Nathan stands next to the stand-up bass that broadens the soft brushes and taps off the hands of Harvey on the skins that accentuate the ambiance surrounding the room.  Mmmm.  Melts in your mouth.

I had slowed down for a bit to soak in the two

previous tracks and now an older model Nissan

Sentra has passed the tractor-trailer trucks I had

passed earlier. He comes up to meet my rear

bumper and NASCAR tag, flashing his lights like

the bugle boy hollering, "Release the hounds".

Clairvoyantly, track 7 changes from six and I give this guy the hand signal that shouts "Tally Ho!" . I jump on my horse and start whipping the five-speed like a riding crop. Matching Harvey's cymbal crashes, I slam down to third, punch the volume button up to around 22 or 3 about the time the revs reach redline and Bob makes his run at a solo. I then catch fourth

Followed by fifth thinking "Tally Ho" is without a doubt a real foxhunt.   I can see now why Fourplay named this song thus. This is a quick, fast and in a ruckus of a romp for all concerned, a polyrhythmic jump that will turn short white painted lines into one long one!  Up to around 120 now,

Harvey has a free hand at it and Nathan's rapid-fire fat stringed response is sure to be liked.  With the groove hitting hard like a Tonka truck against a wall, Bob steps out into the piano passing lane as Mr. Sentra and I make two more cars look small in the past tense portal above and to the right

of my head. Building momentum, Bob pulls to the front of the pack, leading his harmony hunting helpers on a hard bopping tour till Larry lines up for his oat feeling oeuvre. Nathan and Harvey corner the combo with an ostentatious ostinato that turns them back around into the double-time of this tunes time and our more than illegal velocity then close out just as

we enter the 45 mile and hour zone of Vanceboro, North Carolina.

Life, Love and Jazz are all the same...

When improvised

Break It Out


Let's Make Love


Tally Ho!