Boney kind of soft

The saddest part of a critic's job is hearing ridiculously talented musicians with immense, intricate musical vocabularies and nothing much to say. That's the case for a good deal of Boney James' (James Oppenheim's) new Warner Bros. release, Ride. One glance at the credits practically certifies the high standard of technical prowess that should be displayed on this album. One listen reveals quite the contrary.\nAside from the seductive vocals on a few of the tracks, the album maintains an uncanny resemblance to a hybrid of the Weather Channel's soundtrack and Kenny G. The actual songs are smooth enough to fit in your "gettin' it on" file right between Sade and Otis Redding. They sound appropriate because Boney James has a "clean" studio sound and tight arrangement. It's obvious James knows his way around the studio and the sax. But without vocals, most of the tracks are indistinguishable from each other and some sound like they're missing an element. More importantly, these tracks lack the memorable hooks and clever sectional transitions these musicians should have no problem playing. \nGuest vocalists Trina Broussard and Dave Hollister add soulful, jazzy lines with confident, sincere deliveries that are complimented by the likes of Boney and session players such as guitarist Paul Jackson and percussionist Lenny Castro. The instrumentals focus mostly on James' sax playing that seems built on and confined to his own cliches. The few instrumental breaks provide a little relief but are followed by predictable, breathy ascending sax lines. While the solos could've easily been the highlight of the album, they turn out surprisingly bland with little variety of register, articulation and tone. The riffs are uninspired and barely noticeable because of a lack of dynamic contrast.\nIf Boney James wants to be in the spotlight, he's going to need to take more risks as a player and let others provide a more interesting backdrop. This is one case where the artist would probably find more freedom in someone else's arrangements. The personality of his music would be better heard if he were to let it play against other contrasting voices. It's clear that the ability is there, just not the fire.