All CD's reviewed by Glenn Hoskins & Barry Towler
exclusively for RECORD CORNER, which is one of the leading
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PIECES OF A DREAM
Ahead to the Past
(US Blue Note)
1) Took So Long 2) Malibu Nights 3) Why Won't You
Let Me Love 4) Love You For Life 5) The Good Life (La Feliz Vida)
6) You And I 7) Philly High 8) It's You That I Want 9) Driving It
Home 10) You 11) Bella Voce (Beautiful Voice) 12) Cry Of The
Lonely
This CD does not herald an album that is retrospective in
derivation, instead it is a truly lush album of contemporary
smooth jazz with a smattering of polished vocals from the likes
of soul heroes Calvin Richardson and talented UK
artist Maysa Leak.
The instrumental songs on here really surpass those that appeared
on their excellent Pieces CD from 1997, and the vocals
do them justice too, but I personally don't see them in the same
league as those performed by Maxi Priest and Mike
Davis on that particular set. I don't mean to discredit
these vocals, as I really do rate them, but they simply aren'r up
to the challenges set by the oh-so-high watermarks of the
aforemetnioned songs.
As for the instrumentals, then, Took So Long and Malibu
Nights really pay homage to their mentor and guardian Grover
Washington, Jr. as I can hear that he has had so much of
a positive influence on the sax work of new member Eddie
Baccus, Jr.
Calvin Richardson's smooth and, in places, husky vocals drift
over the cream ballad Why Won't You Let Me Love You like
a warm fog over the stream, and the song is strong and the melody
velvety. Fans of ultra sensitive soul music will lap this song
up, and will also enjoy the Maysa song, You and I (not
the Stevie Wonder song) which equals any
material on her excellent 1995 Blue Thumb CD. If these do not
satisfy then It's You That I Want will go the extra 9
yeards to quench your thirst; a quirky and eerie ethereal tune
that is both offbeat and sexy at the same time. Curtis
Harmon, James K. Lloyd and Barbara Walker are
the sensuous vocalists on this and are superb at it too. A
totally agreeable album with more appeal every time it gets an
airing. And in this household that is on a daily basis. Highly
recommended.
DUNN PEARON & GUESTS
Undercover Lover
(US Bouncing Ball)
1) Up All Night (vocal) 2) Nital 3) Apologize 4)
Most Def'netly 5) I Don't Know (Instrumental) 6) So Far Away 7)
Not Love 8) Programmed For Love 9) And I Love Her 10) That's The
Way Love Goes 11) You Don't Have To Say You Love Me 12) You're My
Girl 13) Lady 14) This Boy (Ringo's Theme) 15) I Don't Know
(vocal) 16) Up All Night (Instrumental)
Dunn Pearson Jr goes back some way, back to his
LP in '82 together with brother Bruce Street,
and his excellent indie monster Even a Fool under the
guise of Dunn Street. An LP followed, Color
Tapestry, in 1990 but was of very poor quality. Production
for Motown artist Milira followed then nothing.
Until this. Running on similar lines as the essential Gerald
McCauley CD this album embraces jazz-fusion and soulful
vocals and a whole who's who of artists that beg for attention of
the listener.
The best cuts on here really are magnificent and I am certain
that more material will follow. At least I hope it does! Najee
supplements the CD with 3 songs, the best being the opening vocal
MONSTER Up All Night featuring a very talented Lady
called April Harris, sounding a little between Marva
King and Karyn White which is a very
pleasant combination indeed.
The other vocal is another warm venture, I Don't Know which
is reminiscent of his mid-80s material such as Tonight I'm
Yours. Tasty.
Marion Meadows' material is second to none and
ranks with his For Lovers Only material easily -
Apologise and the Beatles cover of And
I Love Her truly reaches dizzy heights for sure. This 1999
version of his self-written Programmed for Love is far
superior to the laughable version on his very own Color
Tapestry set but cannot beat the original version written
for Roy Ayers. A neat version, though. Finally
for these ears, Grover Washington Jr's Most
Def'netly adds real zip to the proceedings. The other songs
are well worthy of note, too, and finish a really smooth album.
NORMAN BROWN
Celebration
(US Warner Brothers)
1) Out'a Nowhere 2) Together At Last 3) Paradise
4) You Make Me Feel Brand New 5) Celebration 6) Getting By 7)
Rain 8) Never Again 9) Breaking Out 10) It's Time For Love 11)
Stay Strong
Warner Brothers have rescued Norman Brown,
and I feel that he will have a very warm and good home there.
It's so satisfying to see all our favourite MoJazz artists
fidning musical home afterlives elsewhere with huge success. I
couldn't recommend his Better Days se more highly, and
the same applies to this album. Those of you, who like me, are
comfortable with this man's warm style that lies between George
Benson and Earl Klugh and I'm glad to
say that this continues anabaited. Production comes from Norman
himself as well as familiar names in smooth jazz such as Paul
Brown and Matt Pierson.
Fusion favourite Brian Clubertson adds his
enormous writing skills too, and Rick Braun's
trumpet is commonplace, too. As we have come to expect, the
majority of this album concentrates on his guitar playing.
Instrumentals, then are very much the order of the day, but what
a serving we are treated to. I cannot fault any one track on
here. My favourite from the instrumentals are the haunting Together
At Last, the knee-trembling Paradise, and Rain,
written by SWV's mentor Brian
Alexander Morgan and the Latin smoothness of Celebration.
Although instrumentals are in abundance we have three classy
vocal cuts to savour, which is more than we usually are treated
to. Never Again utilises keyboards that adroned many
Solar bands such as Lakeside's Just a Touch
Away. Norman sings wonderfully as does Sue Ann
Carwell. This really is a superior tune. Fans of George
Benson's scat style will owe Breaking Out with
its rich "live" sound and jazzy guitar. The vocal
arrangement of It's Time for Love owes a lot to the
skills of Lynn Fiddmont-Linsey who vocalises
rather nicely as well as providing background vocals and
underlines what I consider to be a superior set of jazz-fusion.
PAUL HARDCASTLE / THE JAZZMASTERS: III
(US Hardcastle Records)
1) London In Springtime 2) Lost In Space 3)
Ventura Highway 4) Nightcrawler 5) Don't Let It Get You Down 6)
Starchild 7) Dreams 8) Trippin' Rhythm 9) New Dawn 10) Down So
Low 11) Red Zone 12) Still Thinking 13) London Chimes
Want a sure-to-win jazz-fusion CD with plenty of room for soulful
vocals, luxuriant grooves, stylish melodies and smooth jazz
overtones? Look no further than this, Jazzmasters III,
for a continuation of knockout, drop-dead songs from the keyboard
maestro, Paul Hardcastle. Whereas some jazz sets loll from
one samey song to the next in a grim of succession, this US
released CD features 13 tracks which are all fresh, imaginative
and are all yet so very, very complimentary.
For starters, Paul has chosen the superb vocalist Helen Rogers
to weave her magic on a number of soulful songs that begin with London
in Springtime which should be MASSIVE if there was a decent
enough radio outlet for this material outside of either London or
Manchester's specialist stations. With more of a trace of Martine
Girault's Revival in the mix and Helen's inspired vocals,
interlaced with expertly fused keyboards this truly is a classy
track that really cuts to the chase. As far as vocals go, the
dance groove of Don't Let It Get You Down is a sure-fire
killer and gets the thumbs up as does the acoustic guitar fronted
Down So Low, which is a real credit to the CD.
Still Thinking reminds me a touch of a Kazu Matsui
moment from the 1980s and should fail to impress either,
especially with the sax played by Snake Davis. Excellent
stuff indeed, and is easily matched by Ventura Highway.
Also, the cover of Stevie Nicks' hit Dreams is very
soulfully reworked and works very well indeed. The instrumental
compositions, such as Lost in Space and Starchild
are really imaginative and are more than worth shouting about.
I would say that no one would be disappointed with this
particular album, whether you are more jazz orientated or more
soul orientated. Albums such as this are very welcome indeed, and
I wish Paul every success with all his projects.
TOM BROWNE
R'n'Browne (US Hip Bop)
1) Joy and Pain 2) Back to Life 3) Someday Well
All Be Free 4) Hangin' on a String 5) Never Stop 6) Un-Break My
Heart 7) Cant You See Me 8) Juicy Fruit 9) The Wind Cries Mary
Tom Browne really has gone some way to turn these songs
upside down, inside out and has given them a fresh, funky and
hard edged '90s jazz-hop feel. For instance, no-one can beat the
original of Maze's Joy and Pain, but what Tom
Browne has done here is cleverly redirected the lyrics into a
FUNKY head nodder, employing some tasty slap bass and fast beats
that sound similar to Dionne Warwick's remake of Walk
on By. Vocals from Stephanie McKay are very good and,
of course, the trumpet is spot on.
Dance diva Sybil adds her tonsils to the funky (and
better?) remake of Soul II Soul's Back to Life and
also on Loose Ends' Hanging' on a String and isn't
a bad track track either.
A real and true charmer is the more sophisticated and classy
version of Donny Hathaway's Someday We'll All Be Free.
Dianne Reeves sounds as if she's been studying the
original vocals note by note. I think this track will be a
favourite of many readers.
I find his cover of Roy Ayers' Can't You See Me a
rather odd, but still quite pleasant in a strange way. I'm not
too sure whether Roy himself would be impressed, but the man does
have a sense of humour about him! Mtume's Juicy Fruit
was, and still is, a classic soul cut, and I'm rather pleased
that Tom has managed to rework the tune without totally
destroying the atmosphere of the original. This version is less
abrupt, more intricate with the smattering of instruments and the
very upfront use of trumpet and jazzy guitar.
An interesting CD. Not perhaps everyone's taste, but refreshingly
different.
INNER SHADE
4 Corners
(US N2K)
1) Inner Space2) Four Corners 3) Little Sunflower
4) Mood to Mood 5) Operator 6) Are You with Me 7) What´s in the
Box 8) Tell Me Something 9) Heaven 10) Loose Cannon
I think that a fair number of you will be impressed with these
songs on here. If I mention that vocalists Chris Ballin
and Maysa are involved on here, then that should
raise more than a general passing interest. Incognito's
Jean-Paul Maunick is the main man behind this
set, but before too many noses turn up, I must say that this is
definitely the quality end of his work, as a lot of his stuff can
be seen as programmed, and in the vein of Stock / Aitken
/ Waterman. So do not worry!
Maysa and Chris Ballin duet very finely indeed on the superbly
jazzy. loose and fidgety rhythmic Four Corners. I'm not
so enamoured by the dum'n bass version of Little Sunflower
- the outcome is rather brash, I feel. However, this blip is soon
erased by the excellent Samba of Maysa's Mood to Mood.
The lady has a wonderful and rather distinctive voice that comes
across pretty well with this material. Operaotr is an excellent
mover that preaches the same message too.
Those of us who adore the lush orchestration, real horns and
catchy bassline will adore this. I can see these cuts going down
rather well in the better-informed clubs. Chris Ballin's vocals,
too, are superb, and those who bought the man's 1996 set will
undoubtedly agree. Are You with Me is an excellent cut
that highlights this man at his soulful best. Such talent is
overlooked here in England for less talented and mediocre
corporate clones, and I am proud that Bluey has allowed this man
more exposure. If you love jazzy acoustic guitar á la George
Benson, then US artist Mark Whitfield
steps in on the instrumental gems What's in the Box and Heaven.
Imagine a VERY funky and retro Norman Brown and
you're halfway there. As a CD this is highly enjoyable stuff.
Recommended.
BONEY JAMES
Body Language
(US/UK Warner Brothers)
1) Are You Ready 2) Into the Blue 3) Body Language
4) I'll Always Love You (feat. Shai) 5) Boneyizm 6) Lovefest 7)
Bedtime Story 8) I Get Lonely 9) All Night Long
I raved about 1997's Sweet Thing album and now I
am raving about 1999's Body Language. What is there to
say, really? It's a typical Boney James CD,
meaning that it is a very safe purchase. The quality is
unparalleled, the style of song is second to none and the vocals
employed are perfectly deployed. My only gripe is that there is
but one true vocal cut - but more of that later. I imagine that
most readers are fully aquatinted with Boney's past glories, as
well as other artists such as Brian Culbertson, Steve
Cole and Rick Braun. Well, if you, like
me, adore this style of jazz-fusion or "smooth jazz" to
lift a fashionable phrase, then this CD is for you. Every track
is worthy of two thumbs up and on no occasion does the CD fall
into too formularised format. Long-standing producer Paul
Brown along with Mr. James himself has seen fir to
ensure that we are kept happy from the moment laser hits disc.
The classy sax-led intro and sexy female background vocals of Are
You Ready? through the superb instrumentals, packed with
real instruments and top-notch direction such as the orchestral Lovefest
cut, and arriving at the late '80s sounding jazzy semi-vocal
of All Night Long. What more could the soul-jazz lover
want? I am not left wanting, although a few more cuts with, say
someone like Phillip Ingram or Marva
King would be appreciated.
However, the mighty Shai are drafted in on the
superb full vocal offering, I'll Always Love You which
is a fine ballad that has MoJazz (R.I.P.) masters
Impromp2 on writing and arrangement duties. You know
their style - you're gonna love it! Pure class - and check out
the Shai CD too for more quality soul moments.
Old friends to these pages, Rick Braun, Jerry Hey and
Paulinho DaCosta appear and make their presence
felt with Flugelhorn, strings and percussion respectively.
Essential listening.
NAJEE
Morning Tenderness
(Verve Forecast)
1) Not A Day Goes By 2) Sapphire 3) Window Of
Change 4) All The Things (Your Man Won't Do) 5) Just For You 6)
Room To Breathe 7) Morning Tenderness 8) Indian Summer 9) Second
Time Around 10) Spirals
As far as jazz-fusion sets go, this is SUPERB. Najee
and long-time producer Fareed have truly excellent
themselves this time. Along with any other black artists with any
talent, Najee has had to find friendlier skies with another
label. Verve-Forecast is as good as any and is evident from the
tender and, I feel, personal Not A Day Goes By which is a
dream of a track to the very end cut. Classy production, warm
instrumental phrasing and tender, soulful vocals.
Sapphire reaches the same dizzy heights as old favourites such as
Day by Day and possesses the same aura and vocal style.
Again, Window of Change equally shines. These are so
superb, these cuts, believe me. His reading of Joe's All
The Things (Your Man Won't Do) is very good as a jazz
interpretation but fails to capture the essentialness of the
original.
For proper vocal jazz lovers, you'll adore Just For You
which features the talented Ty Causey on vocals. The flute work
on here is gorgeous! More sheer class come in the funkier form of
Room To Breathe, and for more warm summery flute look no
further than Morning Tenderness.
My favourite cut is the awesome acoustic piano led vocal monster,
Indian Summer, which features ex-A&M artist Regis
Branson on lead vocals. This cut is completely and utterly
essential. Do not miss this track for love nor money. The 80's
designed Second Time Around is another head and shoulders
cut in the genre, as is the cut with a mere echo of Norman
Connors - Spirals.
This is a wholly welcome and much exalted CD in my humble opinion
and I would recommend that if any jazz-fusion set is on your
shopping list, then this really must take precedent. One of the
most essential jazz-fusion sets of 1998.
EVERETTE HARP
Better Days
(Blue Note)
1) Modern Religion 2) Better Days 3) I Just Can't
Stop Thinking About You 4) We Will Answer 5) When Next We Meet
(We Will Reminisce) 6) Stand Up! 7) For You Always 8) Circle Of
Friends 9) Mutual Admiration Society 10) Norwegian Lillies
More lively and upbeat than most jazz-fusion sets on the
overflowing smooth jazz market at the moment - this certainly has
more of an `edge' to it than most. This CD, in my opinion, is
more essential than his What's Going On cover proving to me that
artists such as this should do what they do best - make their own
music!!!
Modern Religion proves this nicely - a raw and saxy cut
with a racy feel to it - there is a wonderful loose urgency in
the rhythm that raises it above some of the more well trodden sax
sets on the scene at the moment. Following this cut is the more
classy and relaxed number, Better Days, which features Wayman
Tisdale on bass. This track is so good you would expect to
find it snuggled in amongst such cuts as Eddie M's Sunny
Days and Norman Connors' Easy Living on the
classy People Make the World Go 'Round compilation. Yes,
it really is that good!
The gorgeous semi-vocal I Can't Help Stop Thinking about You
is superb and rates as high as any of his best. More in the way
of class is the vocal gem, We Will Answer which boasts a
combination of talents that include Will Wheaton, Valerie
Pinkston (of Chapter 8 fame) and Lynne
Fiddemont-Lindsey. George Duke, Marcus Miller, Paul
Jackson, Jr. and Michael White excel themselves on the
light When Next We Meet, and serves us well, but not as
well, perhaps as the superb funker, Stand Up!, which
features our old friend Rick Braun blowing his horn. Not
to be missed. Incidentally, the CD is also well designed and
presented which is an added bonus these days of slap-it-together
on the cheap computer graphic design. Altogether a well recorded
and designed quality set.
FOURPLAY
4
(Warner Brothers)
Still The One - Little Foxes - Sexual Healing -
Charmed, I'm Sure - Someone To Love - Rio Rush - Piece Of My
Heart - Slow Ride - Vest Pocket - Swamp Jazz
To be honest, most of this group's material has often had
me in fits of sleep, and I was not too expectant of this, their
fourth album. I was extremely surprised and heartened to hear
that there was much more musicality and imagination in this
particular album than some others, and it will be a CD that I
will quite happily play with due regularity for some time to
come, I'm sure. Lee Ritenour has been replaced by Larry
Carlton and joins regular team players Bob James, Harvey
Mason and Nathan East.
The substantial Still The One is our starter and has a
rather insistent groove leading into a very welcome whispery,
soulful vocal refrain featuring Heather Mason and Nathan
East. A truly excellent Bob James composition, Little
Foxes reminds me more of George Duke than Bob James,
and is an excellent track to say the least. I found their version
of Sexual Healing, at first, out of place, mismatched and
against the tradition of the original. However, on repeat play
the track has warmed to me and I understand that far from being
irreligious, the guys have interpreted the track in their own
way. El Debarge does a very good job on it, too.
Larry Carlton's Charmed I'm Sure is a more welcome
straight jazz instrumental and should not be overlooked. A real
KILLER, though, is Nathan East's quiet storm effort, Someone
To Love, featuring Babyface, Shanice Wilson and Nathan
East on vocals. This is more like it! Rio Rush is a
tastefully executed Latin number that is a very deserving listen.
The warm sounds of Piece Of My Heart cannot be ignored
either, nor should the mournful, downbeat guitar tinged Slow
Ride be overlooked.
In conclusion, a far better effort, and surely their best set to
date. Those, like me, who have found their style rather
comatosing in the past should dispel such fears on this album.
STEVE COLE
Stay Awhile
(Atlantic / Blue Moon)
It's Gonna Be Alright - Say It Again - Stay Awhile
- When I Think Of You - Think About It - Interlude - Where The
Night Begins - Intimacy - Intro: Our Love - Our Love - Devotion
I think that when I start off by saying that a certain
gentleman by the name of Brian Culbertson has produced
this set, then all and sundry will know that we are dealing with
here is a jazz-fusion set that simply breathtaking. Steve Cole
is a very talented tenor saxophonist in the style of Kirk
Whalum. The production swings from the seriously funky, to
the soulful instrumental quiet storm and then towards
straight-ahead jazz.
Vocals are extremely limited on the ground, but I think that Mr.
Culbertson uses the odd background here and there as a mere
effect, doing it magnificently to boot, too. For example, the
opener, It's Gonna Be Alright is a wonderful, juicy and
bubbly funker with some discreet choral duties from vocalist Nannette
Frank. What a voice! The mid-tempo groover, Say It Again
features Paul Jackson, Jr on guitar, and is a welcome
musical addition to this saxy cut of high regard.
As for the quiet storm moments I mentioned earlier - please check
out the GORGEOUS Stay Awhile. This is real top-drawer
soulful, instrumental jazz fusion at it's best, make no mistake.
I can hear the late Art Porter or Everette Harp
recording this track. The sax, the guitar licks and the haunting
synth combine to make one hell of a track.
Another sultry and exquisite moment is Think About It
which is purely for quiet, late night listening pleasure,
especially if you have the right company. Philip Ingram
and Josie Aiello provide the tender vocals on this
semi-instrumental. Perfect beyond words.
Yet again in this genre is Intimacy which also received
top marks. The quality goes on unabated with When I Think Of
You which is a typical slab of Culbertson genius. For spine
chilling intro's, check out Intro - Our Love. This really
is pure heaven.
Pure heaven perfectly sums up this CD, I think. I don't think
that you'd be able to beat a CD such as this. This CD is
mandatory and must not be missed.
JOE McBRIDE
Double Take
(Heads Up)
Lower Greenville - Midnight In Madrid - In The
Moonlight - Just For The Koz - A Taste Of Jazz - Baby Come Back -
Hold On To The One You Love - Chicken Joe - Here For You - One
Sunday Afternoon
After being bowled over by the sheer quality and upfront
soulfulness of the vocal cuts on his superb 1996 set, 1998 sees
yet more top-drawer soulful jazz-fusion from this extremely
talented pianist / vocalist. It would be fair to say that this is
a CD that appeals to lovers of both the soul and jazz genres.
Jazz artists such as this are very adept in utilising excellent
vocals and guest vocalists in order to appeal to wider audiences.
That is something I do NOT have a problem with, as the
jazz-fusion scene is one that contains more QUALITY than most
soul sets nowadays.
The first two tracks are crystal clear smooth jazz-fusion
instrumentals that showcase the nimble fingers of the man against
the Ivories. However, as before, the real cream cuts for these
ears are the vocal ones. I was completely and immediately floored
by the 80's George Benson-ish In The Moonlight which has a
wonderful rhythm arrangement complemented by guitar and a spine
tingling synth arrangement. Joe McBride delivers the vocals
himself and is far more than competent at it too. I really cannot
compliment this track enough - it has to be heard. Another
quality selection can be found on Baby Come Back which,
again, features Joe McBride on vocals.
The unique vocal talents of Phil Perry can be found on the
exquisite jazzy yet soulful Hold On To The One You Love. I
know that you will really adore this track, too. The jazzier sax
infused Here For You flows with a warmth that certainly
comes with the thumbs up. This is so true for the Benson-esque One
Sunday Afternoon also. The scat on here is very well executed
in a Benson / Jarreau / Butler fashion. An album such as
this strikes an excellent combination of jazz-fusion instrumental
cuts and KILLER vocal tracks. Essential soulful jazz-fusion at
it's best.
TERRY CALLIER
First Light: Chicago 1969 -71
(Premonition)
Ordinary Joe - Alley Wind Song - If Only I Could
Make You Mine - Naomi - Can't Catch The Trane - Trick All Your
Time away - Golden Circle # 317 - Blues For Marcus - Lean On Me -
900 Miles - Gravy Waltz - Occasional Rain
Not only do we get treated by a brand new and sensational
CD from this man, but Premonition Records come straight out of
nowhere to deliver a set of early classics to enjoy. Remarkably,
all of these tracks here were all previously unavailable,
including some material that has literally been discovered. These
original masters include the original versions of his
ever-popular Ordinary Joe and Alley Wind Song.
Callier's vocal performance is unique - exquisitely jazzy,
occasionally soulful and is sprinkled with a jauntily disguised
folky tinge. The whole recipe is reminiscent to Jon Lucien's
early recordings such as Rashida and Mind's Eye,
and so it goes, if you loved those then, boy, you will want to
lay your hands on this!
The quality of these songs are second to none, given their age
and the fact that they have been 'in the can' for rather a long
time. Callier's vocals are superb on the jazzy If I Could Make
You Mine which has the ghost of a melody from Ordinary Joe
somewhere in its composition. On the other hand, Naomi is
completely laid back and wonderfully touching with concern to
lyrics. I can liken this, in some part, to Jon Lucien's
beautiful, passionate and desperately mournful Rashida.
Can't Catch The Trane is much more jazzy and encapsulates
the unique time period for this style of music. This will not
fail to please. The gorgeous acoustic guitar is very prominent on
all tracks, but no more so than on the floaty, well paced, Trick
All Your Time Away, which also has some mellow flute work
too. Without having to labour any points, this is so typical of
Callier's work - but this CD offers us some warmly welcomed
treasures that have just been discovered. Do not miss.
RONNIE LAWS
A Portrait of the Isley Brothers
(Blue Note)
Prelude to Harvest - Let Me Down Easy - At Your
Best You Are Love - Who Loves You Better - Harvest for the World
- People of Today - You Still Feel the Need - So You Wanna Stay
Dawn
I have been very unimpressed with the quality of the Blue
Note cover series, and scowled at the attempt by Everette Harp
to cover the What's Going On album. This particular
effort, though, could not be more different than the picture I
paint of the aforementioned set. Ronnie Laws delivers his
most remarkable and consistent set since his 1990 True Spirit
album.
If you adore both the mastery of the Isley Brothers and
the more traditional sound of Mr. Laws ala his Every
Generation period, then I suggest that you should not be
without this album. Actually, I was horrified by the notion of a
cover of the Harvest for the World set, but it is handled
extremely well and the material has been treated with the respect
and care which it deserves.
The Isleys' flair is there, yes, but there is more of a flavour,
of 70s Laws thrown in for good measure, too. I feel that this was
an important set for the man; it sounds as if he really enjoyed
recording it. Check out the gorgeous vocals of Michelle Laws
on Let Me Down Easy and the more familiar vocals from
sister Debra Laws on Who Loves You Better.
For these particular ears there are no duff tracks. All are
essential. However, I have two firm favourites. At Your Best
You Are Love is simply gorgeous and we are treated to Laws'
trademark sax right from the word go - he really is unique. This
is fairly contemporary and is very classy indeed. My other
favourite (and possibly my cream cut) has to be the KILLER
version of You Still Feel the Need which comes straight
from the '70s and has more than enough nuances from his classic
'70s United Artists' funky jazz style from the era of the Flame
album. It really is superb and I cannot fail this on any count.
This is the sound that Ronnie Laws does best - I only hope that
we are treated to more of the same very shortly. This is one
essential CD.
GEORGE BENSON
Standing Together
(GRP)
C-Smooth - Standing Together - All I Know - Cruise
Control - Pokito Spanish, Poquito Funk - Still Waters - Fly By
Night - Back To Love - Keep Rollin'
This is much more like it! After a rather lack-lustre
debut set for GRP back in 1996, Benson is back with a set
recorded purely in the USA with real, bonafide producers such as Paul
Brown, Tommy LiPuma and even house kings Little
Louis Vega and Kenny Dope Gonzales.
Although there are only 9 tracks on here, every track is worthy
of a spin and for my money, I'd rather have quality rather than
quantity.
The mellow, bass underlined groove of C-Smooth is our
first port of call. This is a top class instrumental that
show-cases Benson's trademark guitar work effortlessly. The
rumbling bass line is addictive and an excellent precursor to Standing
Together. Vocally, George hasn't lost any of his magic and
that is so, so important. All I Know is a gorgeous '80s
sounding slice of classic Benson in the style of his In Your
Eyes or 20/20 material. The funky, rhythmic Cruise
Control features Benson on scat and also harks back to a
better musical era. A real MONSTER is the heavily Latin funk of Poquito
Spanish, Poquito Funk which is a corker of a track produced
by Masters At Work, and is in more of the vein of their Nu
Yorican Soul persona than their house / garage identity. This
track is one to worm its way into your head. Addictive and
more-ish!
Acoustic guitar is the order of the day on the tasty ballad, Still
Waters which is a typical, classy Benson ballad. Pure class
and one that I know you will adore. Cool, mellow funk is conjured
up on Fly By Night and is irresistible. Yet another
quality ballad appears in the form of Back To Love.
The icing on this particular cake is the superb piano interlaced Keep
Rollin' which also features the man on scat duties once more.
Benson has delivered the most consistent set here for quite a
while, and generally stands head and shoulders over his last
album. This is the Benson that I want to hear; a very welcome CD
from the man. Recommended.
VARIOUS
Smooth Jazz Volume 2
(Warner Brothers)
Sweet Thing - BONEY JAMES / Since I Fell For You -
BOB JAMES & DAVID SANBORN / After The Dance - FOURPLAY / If
Only For One Night - KIRK WHALUM / Who's Crying Now - RANDY
CRAWFORD / Biggest Part Of Me - TAKE 6 / I Can't Make You Love Me
- KEVIN MAHOGANY / Neither One Of Us - DAVID SANBORN / That Girl
- MARK WHITFIELD / Hey Girl (Remix) - MICHAEL McDONALD / For The
Love Of You - EARL KLUGH / Tears In Heaven JOSHUA REDMAN &
PAT METHENY / Blackbird - BRAD MELDAU / On Broadway - GEORGE
BENSON
This is the second in a series of compilations from Warner
Brothers. All the artists on here are well known and loved, and Matt
Pierson, the compiler has done a very good job too.
Sweet Thing by Boney James is a winner for a start,
and may win over a few who have yet to dip their more soulful
toes into jazzier waters. Often the best soulful vocals can be
found tucked away on jazz-fusion albums, and those who adore real
quality vocals ought to dive in as soon as possible! After The
Dance from Fourplay featuring El Debarge is
exactly what I mean. This gem from 1991 sounds as fresh today as
the day I bought it. The production genius of Michael J.
Powell is present on Randy Crawford's Who's Crying
Now. This is a real monster of a track - and brings out the
very best in Randy's gorgeous, quivery voice. I was very
surprised, and warmed to have Take 6 singing here with
their excellent Biggest Part Of Me - soulful, jazzy
accapella with extremely jazzy music. And a gospel record to
boot! The production of Marcus Miller on David Sanborn's
Neither One Of Us features none other than Luther
Vandross and Tawatha Agee on support vocals. Excellent
guitar fusion can be found from Mark Whitfield on the
Benson-ish That Girl.
A real MONSTER here is the TASTY remix of Hey Girl by Michael
McDonald who is, in my opinion, one of the best blue-eyed
soul singers ever. Do not ignore this track, please. If nothing
else, this excellent CD will make you aware of other, perhaps
less familiar, artists and that I no bad thing in my book.
LONNIE LISTON SMITH
Transformation
(Ichiban/Loveland)
Transformation - Queen of Hearts - Beautiful Girl
- Angels of the Night - Moon Beams - Nubian Knights - Caribbean
Sunrise - Space Princess - Quiet Moments - A Chance for Peace
(Give Peace a Chance)
This was a surprise! Lonnie's first set for 7 years
and was it worth the wait? Well, although we are not hitting the
heights of his Flying Dutchman / Columbia years, or even his
early 90s material I must say that dear old Lonnie and his
younger brother, Donald Smith, actually do not let us down
at all. The CD is a good fusion of new tracks and cover versions
of some of his better known and classic tunes from the 1970s.
Transformation tries very well to recreate the (on a
budget!) the rich sound that we are all well aware of. The song
is one of the ecology and man's relentless abuse of the world we
live in - and Donald sounds very good indeed!. Queen of Hearts
is a real monster quiet storm moment that slightly deviates from
Lonnie's unique styling into the territory of, say Norman
Connors or even Craig T. Cooper. This must not be
missed at all costs.
Thirdly we have the slightly Latin and very pleasant percussion
filled Beautiful Girl. More instrumental quality can be
discovered on the typically stylish Angels of the Night.
These tracks are laid back, dreamy and quite unobtrusive -
typical Lonnie Liston Smith really!
If gorgeous synth is up your street then you will very much like Moon
Beams which has that Norman Connors / Jacques Burvick
feel to it.
More vocals appear on the cool, chilled out Nubian Night and is a
really good track. We are treated to moire of the same with the
rich and Craig T. Cooper-ish Caribbean Sunrise, featuring Dawn
Robinson on vocal chores.
Space Princess, Quiet Moments and A Chance for Peace
are well remade and will please everyone whether they are
familiar with the originals or not.
After all the things are considered, you will not want to miss
out on this album. A really classy artist, and a rather solid
album. No disappointment for these ears at least!
MARION MEADOWS
Pleasure
(Discovery)
January Spring - Get Away - Picture This - Lucky
Girl - No Other Love - Unbreak My Heart - Gotta Move - UK
Underground - A Ce Soir - Child's Play
Marion Meadows, long time associate of Norman
Connors and The Starship Orchestra, returns with a really
soulful jazz set for Sire's Discovery label. The man's 5th solo
CD since 1990 sees no real change in the style that we already
used to, so long-standing fans will not be disappointed. It is
more instrumental in composition that the last set or two, but
there are some exiting semi-vocals that cannot be ignored. Nicki
Richards appears on Get Away and joins ex-MoJazz
guitarist, Wayman Tisdale on a serious slab of soul /
jazz. This is a stylish laid back warm summer outing and must not
be missed. It seems to me that Discovery may have been the
willing recipient of a whole number of rejected MoJazz talents
through the recent lunacy and vandalism of a true quality
historic label by the homeboy onslaught (Discovery have released
the much awaited Eddie M CD which Motown dropped). Norman
Brown also appears in unmistakable form on Picture This
which is another really classy track worthy of your attention.
Indeed, Jean Norris from Zhané sings very well
indeed on the uptempo stepper, Gotta Move On. Maybe a
track for the more soul orientated among us, but as I have said
before, the boundary is so hairline and I refuse to make a
distinction anyway. However, my real favourite is the extremely
soulful, yet tantalisingly jazzy No Other Love which
features the silken voice of a certain Marc Cohen. I hope
that we hear more from this guy! This is a real top-drawer cut
and will be a clear 'drive time' favourite of mine for a very
long time to come.
A Ce Coir is more in the line of a Norman Connors
track and renders the album completely and utterly essential.
Exactly what we would expect from Mr. Meadows - but without it
being well trodden a path. Top marks. This will appeal to both
soul and jazz lovers without a doubt.
GEORGE HOWARD
Midnight Mood
(GRP)
Within Your Eyes - Exodus - Midnight Mood - Africa
- Silent Thoughts - Still In Love - Smooth - Find Your Way -
Africa (Reprise)
How to describe this CD? I can sum up in one word.
EXCELLENT. This set stands above the last sorry set for GRP which
was very embarrassing and featured an unearthly alliance between
Mr. Howard and our very own Ray Hayden. Now, I love
Ray Hayden and I love George Howard, but together? Hmm. Well,
listen to this self-produced jazz set, and judge for yourself.
Every track is a winner, and I would hail this as his best album
since A Home Far Away without doubt. Basically the album
is instrumental, bar a few choice and KILLER vocals (both of
which I reviewed last year in his Best Of... set)
featuring Marva King.
Standing alongside these masterpieces are some superb efforts. Within
Your Eyes starts the album off in a very haunting and
ethereal fashion, and really grabs the attention. The synth
combined with the Howard saxophone is just too sensuous for
words. Listen for yourself. A really haunting and touching cut
appears here in two separate, but both essential, forms.
Africa is such a haunting and spine tingling record that
the hair stands on the back of my neck as I sit and hear it.
There is also a reprise version that features George on a short
monologue talking about his roots, and the personal feelings that
he has. This man truly speaks from the soul, and one just feels
that this was an important record for him to make. This just
proves that you don't have to wear baggy trousers, brandish an
Uzi and wear your cap back to front to convey a message of black
identity.
Silent Thoughts is another superb track, slightly street
in an Art Porter-ish mode ala Lay Your Hands On Me, and is
an instant favourite. The cover of Brian McKnight's Still
In Love acts as a fresh, and surprising, cover version and
proves to me that Mr. Howard has his ears flapping in the right
musical circles! This CD will not disappoint you one jot, of that
I have no doubt
BOB JAMES
Playin' Hooky
(Warner Brothers)
Playing With Fire - Mind Games - The River Returns
- Organza - Hook, Line And Sinker - Glass Hearts - Night Sky - Do
It Again - Love Is Where - Are You Ready
This is a CD which I have reviewed in Record Corner's All
That Jazz review sheet. The reason why it is duplicated here
is that we felt that this set will also be an absolute must for
those who are more firmly rooted in soul music. The album is
produced by Boney James' producer, Paul Brown,
long-time associate (and Fourplay member) Nathan East
and Marcel East.
Well, as far as the soul lovers will be concerned, the killer
track is the cover of George Gershwin's Do It Again
featuring the phenomenal vocal talents of a Lady called Rasheeda.
This is top-drawer quiet storm material if ever I heard it,
coming across in a Chanté Moore Love's Taking Over
fashion, but vocally leaning more towards Janice Dempsey.
One for the soul buyers, that's for sure.
I would say that the record has the feeling of the moore track,
but the production is just so more superior and more classy.
Maybe I should say it is less street. There is a distinct urban
feel, yes, but should find more support with the more serious
music lover. Not to be missed at any cost.
Although I have found Bob James' past stuff to lean towards the
more laid-back, or even twee, side of things, this album does not
tread into that territory at all. As for the jazzier cuts?
Nothing short of brilliant. For instance, listen to the warm,
Fender Rhodes filled toe tapper, Mind Games, complete with
Boney James on sax. Other guests include daughter, Hilary
James as vocalist, trumpet maestro, Rick Braun and the
ultra talented bassist Chris Walker. Don't let the album
pass you by - you would kick yourself if you missed this set!
MARILYN SCOTT
Take Me With You
(Warner Brothers)
Let Me Be The One - I'm Calling You - Close Enough
- Take Me With You - Bird Of Beauty - The Summer Knows - Modern
Man - I'm In Love Once Again - That's The Way It Should Be - Just
To See You Again
I stumbled across this CD on the Internet, and so brought
it to Record Corner's attention. Well, what can I say about this
album? The album is sheer class, with soulful vocals and jazzy
arrangements that flit from the quiet storm format to the Latin
vibe ease. Lovers of all forms of soul and jazz will warm to this
album.
George Duke, Russell Ferrante and Jimmy Haslip are
responsible for a lot of tracks. The songs on this particular set
feature a heady mix of romance and social comment, and give the
ear a bit more variety than most albums.
Clear favourites on this album are very difficult to separate,
but I think that no one can be disappointed with the George Duke
masterpieces, Let Me Be The One and I'm Calling You.
There is also a star studded guest list that stands up to the
most rigorous quality scrutiny. Everette Harp and Boney James add
saxophone, Bob James on keyboards and The Perri Sisters,
Sharon Bryant and Vaneese Thomas doing vocal chores. Brenda
Russell contributes as a songwriter, and you know that we
really mean business on the sheer sophistication and timelessness
of this CD.
There is a Latin version of Stevie Wonder's Bird Of
Beauty and it is truly awesome, and her cover of Jean
Carne's I'm In Love Once Again from 1976 is also a
great track on its own merits. Any attempt to merely duplicate
the original would not work, but Marilyn re-works this Philly
classic and stamps her mark on it nicely.
This was a CD that is also to be found in All That Jazz,
and I could have missed it if not for the wonders of the good old
Internet! Seriously, though, if you like really quality soul /
jazz female vocals and the production and input of the above
mentioned, then you will ADORE this.