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James Williams: I Fall In Love Too Easily

By Artur Moral
February 25, 2025
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Several factors hinder the enduring legacy of a figure like

James Williams

piano
1951 - 2004

" data-original-title="" title="">James Williams: a limited discography as a leader, curtailed by his deep commitment to teaching and early death, the frustrating unavailability of much of his published work in both physical and digital formats, lacking even a partial retrospective compilation, and, not a minor issue, a name that complicates searches and causes ongoing confusion on streaming platforms and websites. This makes his current visibility scarce and fragmented. The ten records with

Art Blakey and the Jazz Messengers

band / ensemble / orchestra

" data-original-title="" title="">Art Blakey and the Jazz Messengers, vital contributions to others' albums (notably some of

Art Farmer

flugelhorn
1928 - 1999

" data-original-title="" title="">Art Farmer's best), along with first-class, profoundly personal projects like The Magical Trio (glorious 1st and 2nd edition) or his culminating four-volume work, Jazz Dialogues Vol. 1-4 (Finas Music, 2003), now seem blurred, if not lost, to time.

Williams' distinctive pianism, rich with blues and gospel influences and firmly rooted in masterful teachings—such as those from his beloved

Phineas Newborn, Jr.

piano
1931 - 1989

" data-original-title="" title="">Phineas Newborn, Jr. —was captured on August 27, 1995, at the Maybeck Recital Hall in Berkeley. This concert would become an extraordinary closing chapter for the solo piano recording series named Live At Maybeck. Although the deliciously infectious tension of many of his performances is at hand, here Williams is mostly relaxed and intimate, perhaps influenced by the warmth of the unique venue and the closeness of its 50 privileged listeners. James Williams At Maybeck - Maybeck Recital Hall Series Volume Forty-Two (Concord Jazz, 1996) exclusively features compositions by others, which the Memphis-born musician brings to his ground through that distinctive harmonic and rhythmic approach of his that permeates all he played. Among many more, one highlight is this delightful version of "I Fall In Love Too Easily," showcasing his magnetic balladry artistry. It alternates between an evocative mood and some gentle bursts of calm energy, guiding like a musical compass toward a single possible vanishing point, marked by coordinates where one can find emotional refuge. Perhaps melancholy is a useless mistake, but in Williams' hands, it became the most precious of imperfections.

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