The relaxed poetry coupled with effervescing rhythms that flow from his music also filters through a conversation with saxophonist Boney James.

Due for a repeat area visit at the upcoming Holiday Jazz Fest occurring Nov. 28, James is a content man.

Blessed with the triple gifts of songwriting, producing and the ability to play a number of instruments including the alto, tenor and soprano saxophones, the Grammy-nominated artist has been able to make a living for three decades.

It is the latter that he describes as the fun part. The two remaining might be the most time laborious, but as he acknowledges, they allow the headliner role to be possible.

Becoming an acclaimed superstar was not the goal when he began as Morris Day’s keyboardist during the mid-’80s. He was living his lifelong dream of making a living with his music. During the four-year gig with Day he switched from percussion instruments to a woodwind and simultaneously altered his sound, career path and eventually his name.

After bemoaning a severe lack of food due to inconsistent funds made as a sideman, another musician advised he could end up bony. The moniker stuck as the young musician’s foray into R&B/hip-hop-infused urban jazz began to grow in stature.

In 1992 his first album “Trust” was produced independently and within two years Warner Brothers had him signed to a major label.

The limelight has not dimmed, but even into his second decade of stardom, James admits to still remaining grateful each time he walks onto a stage. Whether in a venue like the cavernous Hollywood Bowl or an intimate showroom, his concert style never falters. As one reviewer once noted, he approaches the audience with an attitude that dares them not to be happy.

It is an analysis the man who has worked with Stevie Wonder and George Benson agrees with.

“People have paid good money to see me,” he said. “I want them to have the best time.”

In a day where the music business is in constant flux from the demise of record stores to the ever-increasing ways the public can purchase it, James admits to being sad at the lack of multiple-track albums.

He calls the dearth of B-side songs limiting.

Rather than lament the loss, he instead focuses on the strongest constant in the music world. People’s hearts have not changed, and they still enjoy hearing good music. James’ fans will be happy, too; he is in the midst of writing music for an upcoming CD.

His most recent CD, this year’s “Send One Your Love,” caused a seductive sensation, featuring his own compositions along with Barry White’s “I'm Gonna Love You Just a Little More Baby.”
When asked if he felt responsible for the untold number of children conceived to his smooth stylings, he laughs and admits the freedom with which people can offer embarrassing details of their personal lives.

To experience the same starry eyed feelings, as do millions around the world, James claims immunity to the romance of his own playing.

What is sensitive is his carefully crafted gift to choose the type of saxophone that brings a complete depth of soul to a composition.

“As soon as I pick up a horn I listen for what sings the best.”

Varying rhythms of life surround Boney James, whose music mirrors the man.