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Joe McBride
Born and raised in Fulton, MO, keyboardist/singer Joe McBride began playing the piano at age four. His uncle Bake McBride was an outfielder for the St. Louis Cardinals and the Cleveland Indians. His earliest influences were gospel music, bebop, straight-ahead jazz, Motown, and ’70s R&B and funk. As a teenager, he began singing and playing at jazz clubs. Around this time, McBride was stricken with a degenerative eye disease that eventually claimed his sight, but his passion for music didn’t diminish. He continued his musical studies at the Missouri School for the Blind and Webster University in suburban St. Louis, where he majored in jazz performance. He also attended the University of North Texas. Around 1983, McBride trekked to San Diego, CA, a bastion of smooth jazz radio. He began playing with the band Fattburger and guitarist Steve Laury.
In 1985, McBride visited his brother in Dallas, TX. What was originally planned as a two-week visit evolved into an abundant opportunity. He was flooded with performing offers, leading to McBride becoming a popular musician of the city’s jazz club scene. During that time he met a young trumpeter named Dave Love at a function for North Texas State University. The two became fast friends and when Love ventured into the other side of the music business and started the Heads Up International label, the executive remembered the soulful pianist/vocalist he had met in Dallas and signed him to a record deal. In 1992, the keyboardist was featured on Heads Up labelmate Kenny Blake’s debut, Interior Design, and began touring with the Heads Up Superband along with Blake, Gerald Veasley, Keith Carlock and Henry Johnson.
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Joe McBride: Lookin' for a Change
by Woodrow Wilkins
There is The Great American Songbook, that vast repertoire of songs culled from musicals, vintage jazz and early rock--songs that have been tapped dozens of times by artists young and old. It gets to the point that whenever the word cover" is mentioned, eyes roll and stomachs begin to turn. So it's a pleasant change of pace when an artist picks songs that aren't on everybody else's radar. Joe McBride takes that approach with Lookin' for Change.McBride, a ...
Continue ReadingJoe McBride: Texas Hold'em
by Woodrow Wilkins
If online promotions and televised tournaments are any indication, hold 'em poker has become one of the most popular games in the Western world. Attempting to capitalize on the game's growth, keyboardist Joe McBride brings us Texas Hold'em, a collection of eleven original songs, mostly with titles that represent some aspect of the card game. The music is playful throughout, moving from rhythmic smooth jazz to the light funk of In a Garden of Eden (In-a-Gadda-Da-Vida), a song that's loosely ...
Continue ReadingJoe McBride & The Texas Rhythm Club: Keepin' It Real
by Mike Perciaccante
On Keepin It Real, his sixth Head Up release Joe McBride continues to deliver smooth jazz as only he can. McBride, who hails from St. Louis, MO (his uncle is former Cardinals outfielder Bake McBride), soaked up that city's musical brew and folded in the essence and subtleties of his influences, which appear to be funk, gospel, bebop, Motown, and R&B to create his own brand of jazz, a hybrid, if you will. As always, keyboardist McBride cooks his jazz ...
Continue ReadingJoe McBride and the Texas Rhythm Club: Keepin' It Real
by Dave Nathan
Staying with the same approach that has made his previous five albums successful, Joe McBride and his band offer a mix of groove, R & B and smooth jazz. If it ain't broke, don't fix it. Most of the pieces on the play list come from McBride's compositional pen Unlike most contemporary or smooth jazz releases, some of McBride's music has some character to it. While it allows for virtually no improvisional flights of fancy, it does not lay there ...
Continue ReadingJoe McBride: Texas Rhythm Club
by Dave Nathan
Liner notes and other promotional material to the contrary, when it's all said and done (and heard), this is an album of smooth jazz. There's the never changing, unrelenting rhythmic patterns laid down by the drums playing around keyboards and electronic gizmos. Like rock players everywhere, these guys grab a hold of a couple of chords and never let go like on Lone Star Boogie". The result is that matters get very boring, very quickly. Having said that, there are ...
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