Reviews

Najee | The Smooth Side Of Soul

2012-01-26T02:28:39Z

Album Review: Najee | The Smooth Side of Soul

By Peggy Oliver

Multi-award winner Najee is one of contemporary jazz’s long-standing ambassadors and continues to challenge himself with respect towards his fan base that has further translated to his overall industry longevity. As a lifelong fan of R&B and jazz music, Jerome Najee Rasheed decided to follow his musical childhood inspirations while developing his woodwind skills. Along the way, the New York native hooked up with the education powerhouse Jazz-mobile program - co-founded by jazz legend Dr. Billy Taylor and woodwind mentors, Jimmy Heath (The Heath Brothers) and Harold Jones from the New York Philharmonic. Brother Fareed also played a major role in Najee’s musical path as a fellow student with Najee at The New England Conservatory of Music, as a fellow musician and producer and currently as Najee’s manager.

Besides this incredible support system, Najees' always hungry attitude would bring a wealth of collaborations. His early years were focused more in the R&B world, first gaining major exposure with Chaka Khan and Freddie Jackson. Najee was a frequent contributor to other recording classics including Live at The Greek with Larry Carlton, Stanley Clarke and Billy Cobham, and two Prince projects, Rainbow Children and One Night Alone Live. Yet it was his ability to balance R&B with jazz which earned him NAACP Image and Soul Train Awards, plus consistently topped the charts in both genres over a course of fifteen albums for EMI, Heads Up and Polygram Records, while a major host of friends came on board like Will Downing and George Duke.

Now joined with the Shanachie Entertainment family, Najee flexes his woodwind dexterity and radiates pure bliss for jazz and R&B on his label debut, The Smooth Side of Soul. Whether riding on a groove or creating attractive ballads, Najee and his solid guest list, aligned by veteran urban producer/musician Chris ‘Big Dog’ Davis and a contemporary jazz pioneer Jeff Lorber, delivers on all cylinders. “Dis N’ Dat” finds Najee and James Lloyd (Pieces of a Dream) feeling the hard-hitting funk from the bottom up; introduced properly with a fiercely crackling and popping bass. Phil Perry’s delicious and passionate tenor fully compliments Najees' dancing saxophones and flute for the house music injected first single, “Just to Fall in Love.” “One Night in Soho” honors the Soho districts of New York and London, supplying plenty of tight dance funk backbeats. Najee and Davis’ playful interaction and snappy phrasing are a one-two knock out punch for “Fu Fu She She,” laid down by Davis’ mild hip-hop ambiances. Najee’s lyricism is the focal point for the jazzy R&B kissed soundscapes of “You Tube,” the atmospheric waltz, “In the Clouds” and the caressing, picturesque Latin edged “Mari.” In a tasteful tribute to Jimmy Heath, The Smooth Side of Soul rightfully concludes with Najee and Lloyd digging into some muscular be-bop, courtesy of Heath’s composition - “Sound for Sore Ears.”

This is a rare happening when I can frankly conclude that The Smooth Side of Soul is an assured hit from beginning to end. To this day, Najees' overall body of work with his classy tones, incredible musicianship and woodwind mastery are precious musical treats to savor time and again. Five out of five stars.

Peggy Oliver

The Urban Music Scene

Ellee Ven | Her Wildcat Lovin’ Majesty

2012-01-20T01:01:11Z

Album Review: Ellee Ven | Her Wildcat Lovin’ Majesty
By Stella Titus-Ayala

The Beautiful Ellee Ven, hailing from Lexington, KY, is a current Pop/Indie independent artist from the label Hot Sauce Records. Her new CD, "Her Wildcat Lovin' Majesty" was released last year in May 2011.

For starters, the first track on the album SIGNALS, by far, is the best song Ellee Ven delivered. This 'Indie-80’s meets Brittney Spears' style song is somewhat a throw back from the 80's HEY DAYS of freestyle/dance music legend DEBBI DEB. However, the amateur style lyrics made it too popish.

Moving on, the album shows promise for an up and coming rapper, “PRODEJE”. The stand out tracks were NEXT TO YOU, WHAT AM I RUNNING FROM (REMIX), SORRY’S NOT ENOUGH AND LOVIN ME - all of which feature this rap artist. I do have to say his guest appearances are the best parts to these songs. However, the other tracks themselves, from the introduction, have a futuristic feel but suddenly get thrown back into a retro 80’s sound. That, for some tracks, didn’t survive the total playback for review.

The grooves throughout the disc, however, reflect the ever growing trend of popish-rock, techno-hip hop sounds. Perfect for that background club scene backdrop or after hours dance floor festivities for those who appreciate that sound.

There's not too much to offer here regarding Ellee Ven. Once again, the positive thing about the project was the artist PRODEJE and that’s saying a lot being that the album is designed & produced for the star singer. Unfortunately the album is mediocre as far as the beats and production-per tracks go & Elleven's vocal capabilities was often overshadowed by the over-production and lack of lyrical substance on many of them. There was only a very few singles that had some great moments. All I can say about 'Her Wildcat Lovin Majesty' is that I hope she realizes her gift as a singer isn’t wasted. It just needs a little more time developing. More time for her career to progress as an artist. Please don’t just take my word on this - check out the CD for yourself music lovers.

Stella Titus-Ayala
Theurbanmusicscene.com

All Music Reviews are property of The Urban Music Scene with Copyright (C) The Jordan Music Group, 2007-2010 | All Rights Reserved

Kirk Whalum | Romance Language

2012-01-11T16:08:12Z

Album Review: Kirk Whalum – Romance Language

By Peggy Oliver
(Advance Review - Scheduled for Release Feb. 14th, 2012)

One of jazz’s unlikely pairs, depending on who you might speak with, stirred some magic in the early sixties. John Coltrane was undeniably a groundbreaking modern saxophone player who leaned more towards the avant-gardism school of thinking. After choosing crooner Johnny Hartman for an Impulse! recording project of romantic ballads came to fruition in 1963, Coltrane immediately connected with Hartman’s melodic and sensitive phrasing, which was the self-titled project’s driving force.

Over forty five years later, Kurt Elling etched his astounding vocal jazz arsenal for a live concert tribute to Coltrane and Hartman that featured all six tracks from the 1963 Impulse! sessions; cleverly interspersing a classical string quartet with his backing trio. Kirk Whalum, who understands a thing or two about tributes (i.e. R&B vocalist/producer Babyface and icon Donny Hathaway), invites his family - brother Kevin Whalum and uncle Hugh Whalum - with a smooth jazz angle of the legendary 1963 Coltrane and Hartman recording. Romance Language, Kirk’s 19^th solo disc, combines the original tracks with four additional pieces that rekindle the romantic sentiments.

Though Kevin’s creamy soul voice has more of a Nat King Cole vibe than Hartman, his vocal timbre accented by Kirk’s fluid saxophone counterpart on Romance Language equals the elegant contemporary jazz ingredients. This Rendezvous Music release finds Kirk’s working band and long time colleague/co-producer John Stoddart’s keyboards sparking that romantic aura with classy seventies soft funk jazz atmospheres complete with flutes, strings and brass. However, compared to the Elling tribute, Romance Language stalls on several occasions. Where Elling dared to paint different pictures of the Coltrane and Hartman recorded standards, the orchestrations get caught up in the same groove lines. Despite Kirk’s tender soulful saxophone factor and Kevin's calm balladry presence, Romance Language seems a bit too safe and it would have been a bit more beneficial for Kirk to utilize more of his already diverse musicality. The best example of this, by far, is Hugh ‘Peanut’s spunky warm tones on the blues-injected “Almost Doesn’t Count,” a Grammy nominated R&B ballad from Brandy. With all the shortcomings aside, Romance Language still emits a fairly attractive aroma for the die-hard lovers in the house. Two and three-quarter stars out of five.

Tracklisting:

They Say It’s Wonderful

Dedicated to You

My One and Only Love

Lush Life

You Are Too Beautiful

Autumn Serenade

Almost Doesn’t Count (recorded by Brandy)

I Wish I Wasn’t (recorded by Heather Hadley and written by Jimmy Jam & Terry Lewis)

I Wanna Know (co-written and recorded by Joe)

Spend My Life With You (recorded by Eric Benet & Tamia)

Peggy Oliver

The Urban Music Scene

Boyz II Men | Twenty

2011-12-19T22:52:09Z

Album Review: Boyz II Men | Twenty
by Brent Faulkner

Veteran male R&B group Boyz II Men celebrate twenty years in the game with their most recent studio album appropriately titled Twenty. Twenty is a double-disc effort, comprised of twenty three tracks; the first disc is new material while the second disc is re-recordings of the groups biggest hits. Overall, the two-disc set is more than what fans might ask for, particularly the re-recorded disc, but showcases that the pre-eminent, best selling R&B group are still in top-notch form twenty years later. While none of the effort seeks to reinvent the group, the material is fitting and solid.

Disc one, the disc of newly penned originals opens a bit clunky with “Believe,” a cut with a built in interlude and perhaps too much of a nonchalant feel. It works ultimately, but “Believe” feels like more of a warm-up as opposed to ‘the main course.’ “So Amazing” is much more polished, graced with a lush adult contemporary R&B sound. The harmonized vocals, still as piercing as always, sound superb on the refrain. The biggest quibble? Length, with the cut approaching the five minute mark. Third cut “Put Some Music On” is less sensational than “So Amazing,” but still solid. The minimalist ideas explored within the production are solid, even if the over-simplicity somewhat gives off an air of ‘cheap’ production work. The cut could’ve benefited from extra ‘oomph’ certainly.

“Slowly” and the proceeding Charlie Wilson featuring “More Than You’ll Ever Know” help to pick up the momentous pace of the effort. “Slowly” feels authentic from the first note yielding a superb sensualness and lushness. “More Than You’ll Ever Know” may not be ‘the second coming,’ but it is a solid cut with superb vocal arrangement and vocal production. Overall, “More Than You’ll Ever Know” shows adult R&B at its best, with it coupling of a sound harmonic progression and overall polished artistic performance that transcends through the studio recording. “I Shoulda Lied” is an ‘A-’ cut, smartly accelerating the tempo and yielding another sound Babyface cut. “I Shoulda Lied” only comes off slightly less alluring than the best cuts.

“Benefit of A Fool” features nice hip, old-school production work contributed by Da Internz. The refrain is catchy, yet simple and the vocal harmonies are magnificent. “Refuse to Be the Reason” follows-up superbly with a contrasting, low-key vibe. As always, there is a sensualness captivated by these old-school vets that so many younger R&B artists wish they could capture. The vocal ad libs here are a clear high point. “One More Dance” and “Will You Be There” deliver solid punches, though the penultimate first disc cut “Flow” allows for the ‘Boys’ to deliver a more modern, hip-hop oriented performance. An understated sensual vibe on the verses is a selling point. “One Up For Love” delivers more of a pop-rock vibe. While it is less satisfying than the very best, it ends the first disc solidly.

The second disc is more of a ‘highlights’ disc, finding Boyz II Men running down the hits that made them famous. “Motownphilly” and “On Bended Knee” are delivered strongly to open the second disc. Neither hit as heavy as the original, but both are solid. “Four Seasons of Loneliness” and “Water Runs Dry” are pleasant, though neither are newly ‘reinvented’ or are newly ‘profound.’ “A Song For Mama” is pure and soulful while “It’s So Hard to Say Goodbye to Yesterday” yields harmonies that sound as good as ever. “I’ll Make Love To You” is more invigorating than the majority of re-recordings, though “End of the Road” is the best reinterpretation by all means with Boyz II Men keeping their signature vocal riffs intact. “Not Like You,” parenthesized as a ‘new bonus classic,’ closes the effort both pleasantly and enjoyably.

Overall, Twenty does not tread any new ground, but it does deliver Boyz II Men’s first album of original material in years. Boyz II Men also prove they are NOT stodgy, washed up veterans, but still relevant, talented musicians. Maybe a ninety minute set is overwrought to celebrate twenty years, but overall, the album is well thought out and well crafted.

Brent Faulkner
The Urban Music Scene

All Music Reviews are property of The Urban Music Scene with Copyright (C) The Jordan Music Group, 2007-2010 | All Rights Reserved

Amy Winehouse | Lioness: Hidden Treasures

2011-12-13T16:42:25Z

Album Review: Amy Winehouse | Lioness: Hidden Treasures
by Brent Faulkner

When British soul singer Amy Winehouse passed away in July 2011 at age 27, the world lost a talented musician way too soon. While many predicted Winehouse’s battle with demons would be her ultimate and perhaps untimely demise, the world was saddened that such a distinct, passionate, and soulful voice was gone so soon. Prior to her untimely death, Winehouse had been working slowly on a third effort, much of which was unfinished. 2011 compilation Lioness: Hidden Treasures includes a mix of old, new, and unreleased recordings. Like most posthumously released compilations, it has its truly great moments and it also has its less virtuous ones. For the most part, Winehouse shines and saddens listeners through the unrequited beauty and distinct classicism of her voice.

“Our Day Will Come” flips a classic doo-wop number and transforms it into a reggae-soul cut. While “Our Day Will Come” doesn’t dare rival the bombast of Back to Black opener “Rehab,” it is a solid performance, showing a younger, less ‘pained’ Winehouse. The nuances are exceptional throughout, particularly towards the end - a clear testament to Winehouse’s musicianship. Salaam Remi’s production helps to make “One Day Will Come” so effective. “Between the Cheats,” a “new” cut, isn’t too shabby, again nabbing Salaam Remi as producer. A vintage soul sound is cultivated here, with the cliché ostinato piano in full force. Winehouse’s vocals are a little less precise and less decipherable here, lacking the quality she showed on Back to Black. At times, Winehouse ‘commands’ while at other times she playfully tackles the number. That said, the background vocals are a strong suit and this cut is still catchy and distinct enough.

“Tears Dry (Original Version)” exhibits the lower register of Winehouse flawlessly. Winehouse commands here, even more so than “Between the Cheats,” using her full voice. Even better is a sound cover of “Will You Still Love Me Tomorrow,” arguably the best cut of the entire compilation. Here, Mark Ronson’s arrangement is perfect, much like his excellent production work on Back to Black. Vocally, Winehouse sounds at her peak, truly commanding the song and delivering musically contrived nuances and ad libs. Additionally, the vocal production is perfect. “Like Smoke,” featuring Nas follows to less avail. Nas is the ‘star’ here delivering his rap verses with much more urgency than Winehouse delivers her vocals. The main problem is that there is more vocal affections and nuance than melody; Nas’s verses are as clear and well crafted as always. “Like Smoke” feels more undercooked than some of the cuts that grace this compilation.

“Valerie (’68 Version)” is another well executed cover, bowing from Winehouse’s Back to Black sessions. The early Winehouse career cover of “The Girl From Ipanema” is absolutely stunning, showing off Winehouse’s consummate musicianship. Winehouse alters the melody of the latin-jazz classic liberally, but the results yield nothing but soulful magic. A Winehouse original, “Half Time” originated from Frank and lays well for the most part. Vocally, Winehouse again contributes some soulful nuances and ad libs without making “Half Time” the ‘elite’ of Lioness.

“Wake Up Alone (Original Version)” is quite alluring, showing Winehouse in a one-take setting delivering vocal magic. The reverb surrounding Winehouse’s vocals towards the end is a great touch. “Best Friends, Right” was recorded back in 2003 in a live setting. While it is not the best of the effort, it shows a younger Winehouse and certainly foreshadows her vocal potential prior to Back to Black. A reprise of “Body and Soul” with Tony Bennett (it’s featured on his Duets II album) makes one rethink the Winehouse’s vocal quality. Sure, she channels Etta James and Billie Holiday, but compared to other performances, Winehouse sounds more distant, restrained, and less polished here. Bennett clearly outshines here here, particularly notable on the harmonized parts. Closing “A Song For You” features one of the strongest arrangements of the effort (Salaam Remi), but perhaps Winehouse’s weakest, most vulnerable vocal performances. The pitch suffers here, particularly towards the end as Winehouse sounds her most ‘pained.’ The vulnerability exhibited here only saddens the listener and makes them shake their head in reflection.

Overall, Lioness: Hidden Treasures is a better compilation effort than most posthumously released efforts tend to be. That said, it is still ‘mixed-bag.’ At times Winehouse shines without vulnerability (“Will You Still Love Me Tomorrow”), while at other times the listener perceives the pain of her demons (closer “A Song For You”). Regardless, Lioness is a must-have for any Winehouse fan and serves as another reminder of what a dear voice was lost in 2011.

Brent Faulkner
The Urban Music Scene

All Music Reviews are property of The Urban Music Scene with Copyright (C) The Jordan Music Group, 2007-2010 | All Rights Reserved

Mary J. Blige | My Life II...The Journey Continues (Act I)

2011-12-07T02:00:11Z

Album Review: Mary J. Blige | My Life II...The Journey Continues (Act I)
by Brent Faulkner

Any artist, regardless of genre, would be hard pressed to follow-up one of their most pivotal releases with a worthwhile sequel. On My Life II... The Journey Continues (Act I), that is what R&B standout Mary J. Blige attempts to do. The result is a pleasant effort, but an effort that never eclipses the original My Life, nor does it eclipse Blige’s modern masterpiece, The Breakthrough. Despite this and some humdrum, less distinct moments, there is enough solid material to make My Life II an enjoyable, though not necessarily the most important or vital effort in Blige’s rich discography. At this point, Blige is a mature woman and her pain has subsided, which makes most of My Life II less emotional than her more pain-stricken efforts.

Following an intro featuring none other than frequent collaborator Diddy, “Feel Inside” opens the effort featuring Nas. The cut is not a flashy one and perhaps at over five minutes, its lack of distinction hurts it a bit. Highlights of the cut include the use of background vocal and the old-school drum programming, helping the listener reminisce back to the 1990s. “Midnight Drive” features Mary’s rap persona ‘Brook-lynn’ and in some regards is an oddity at first. Where “Enough Cryin’” (The Breakthrough) worked splendidly, “Midnight Drive” is a bit clunkier. With successive listens, it definitely grows on you, but lacks the finesse of Mary’s best. “Next Level” has more of the ‘bounce’ we are accustomed to from the ‘Queen of hip-hop soul’ and is lifted by a guest spot from Busta Rhymes. The production is solid, utilizing bright synths and a well conceived, full-bodied bass line. The songwriting stands out here, as does Blige’s commanding vocals.

“Ain’t Nobody” - yes the Rufus and Chaka Khan tune, is covered commandingly here by Blige, though still the listener is waiting for that massive MJB hit. “25/8” is solid, despite some mixed accounts, but not quite the caliber of Mary’s strongest cuts, which tends to be the story of this effort. Sampling Kenneth Gamble/Leon Huff’s “Now That We Found Love” gives this cut the neo-soul vibe that it needs. Mary delivers the goods and “25/8” proves to be one of the best cuts from this effort. “Don’t Mind” isn’t too shabby, though after repeated listens, there is more of an Erykah Badu vibe about this cut than what one might expect from Blige (think “Honey”). Regardless, Blige sells it well. The Nate “Danja” hills produced “No Condition” is a bit odd. It is well produced, but isn’t necessarily the sound one might envision for Blige. ‘To each his own,’ but “No Condition” could have been omitted without much fanfare.

“Mr. Wrong,” featuring Drake is a superb contemporary R&B cut and it lays well. Sure, the reference to “Me and Mrs. Jones” is obvious, but it does work and ‘if it ain’t broke, don’t fix it.’ This Drake collaboration certainly feels more natural than the clunky “The One” from 2009’s Stronger With Each Tear. “Why,” featuring Rick Ross, feels perfect, with its soulful production and full-sounding bass line. Similarly, another collaboration, “Love A Woman,” this time featuring Beyoncé strikes gold. “Love A Woman” reminds one of Keith Sweat’s “Right and a Wrong Way to Love Somebody” - coincidence? Regardless, it works!

“Empty Prayers” is the next cut on the standard edition. It is a lovely ballad allowing Blige’s vocals to shine brightly. Christopher “Tricky” Stewarts production work is well conceived here. “Need Someone” and “The Living Proof” (from the movie The Help) close the standard edition of the effort sort of in ‘humdrum’ fashion. “Need Someone” is too sleepy while “The Living Proof” comes off less inspiration and more boring than it did when featured in its respective film.

The deluxe version delivers three extra cuts. “Irreversible” is solid, though not ‘first tier.’ “Miss Me With That,” produced by the Underdogs feels like a ‘bonus cut,’ which hurts its cause. The best cut is promo single “Someone to Love Me (Naked)” featuring Diddy and Lil Wayne. It may be a remix of a cut from Diddy’s Last Train to Paris effort, but as stated before, it works!

Overall, My Life II falls short of the glory of the best Mary J. Blige efforts. It won’t be remembered like the original or when compared to most recent triumphs, 2005’s The Breakthrough. What it does do is keep ‘the queen of hip-hop soul’ relevant, though not revolutionary. But at this point, does Mary have anything she needs to prove? You decide.

Brent Faulkner
The Urban Music Scene

All Music Reviews are property of The Urban Music Scene with Copyright (C) The Jordan Music Group, 2007-2010 | All Rights Reserved

Carl Thomas | Conquer

2011-12-05T22:46:20Z

Album Review: Carl Thomas | Conquer
By Stella Titus-Ayala

Carl Thomas and his long awaited and anticipated New Album “CONQUER” hits you with smooth contemporary R&B tracks like “THE NIGHT IS YOURS” and many more to come. This track just goes to show you that in his absence he was going deeper within his talent and musical vault before resurfacing with hot new sounds for the project.

“ROUND 2” is definitely a very hot track that speaks so much truth to so many playing the Love Game. “IT’S NOT THE SAME” --- dare I say it happens too often and finally someone has made an up tempo, almost joyful song of coming to terms with 'Loves Changes'. This is a real song with some real talk. “DON’T KISS ME” is definitely my favorite track on the album. Everything about it screams sensuality. This song teases the senses yet promises climatic closeness in any relationship. The music is smooth and combined with the tantalizing seductive vocals or Mr. Thomas. What more can we ask for? It is what it is.

There are no words that can really express how I feel about this next song. When you buy the album “CONQUER” you will know what I’m talking about. “IT IS WHAT IT IS” is simply CARL, CARL, CARL! The single is so explosive, all I can say is Wow! CARL brought his “A” game y’all! Then to “IT AIN’T FAIR”, Carl is the R&B romantic, gentle comforter to the women all over the world but yet I know there are real men feeling these tracks just the same.

Somebody pinch me! On “SWEET LOVE”, Carl Thomas was not playing on this one y’all. He’s fine, sexy and the man is Sang’in to my soul! I had to step back, grab a cold drink just to keep from overheating on this track. This is what great music is about - what it’s supposed to sound like. It reminded me of how great songs sounded back in the 90’s by groups like Troop (All I Do), Mint Condition (Pretty Brown Eyes), Jodeci (Stay)..., you know, the songs that made you want to slow dance even if you didn’t know how.

“RUNNING” is such the inspirational song on this album. It makes you believe you can soar and do just about anything you can dream of doing. Like a child who gets lifted and doesn’t want to be put down…Spiritual yet real. A real beautiful composition, again this album could’ve easily been called “The Reinvention of Carl Thomas” what a great song to inspire, so worthy of Olympic praise.

The bonus track on the album is a collaboration featuring the top dog himself Mr. SNOOP (D-O-Double-G) DOGG! This is a bonus track for those who need or like a little more edge to their dosage of smooth R&B slow jams. SNOOP comes in on the track like a real Funkin Player adding FLAVA to this already hot track making it burst into straight FIRE! Got to love this one!

Collectively this is not a comeback album but rather another 'I have arrived AGAIN' project. “CONQUER” has done just that. CONQUER is in an understatement. It’s FIERCE - A must have album! What more can I say other than please Carl don’t wait too long to drop the next one. For all of you… GET IT WHILE IT’S HOT!

Peace y'all-

Stella Titus-Ayala
Theurbanmusicscene.com

All Music Reviews are property of The Urban Music Scene with Copyright (C) The Jordan Music Group, 2007-2010 | All Rights Reserved

New Foundation | Goin’ Places

2011-11-26T18:10:18Z

Album Review: New Foundation | Goin’ Places
By Ian Cooke

New Foundation's "Goin’ Places" is a debut project by long time friends Curtis Harmon and Bennie Sims who worked together as drummer and bassist respectively, for legendary contemporary jazz group, Pieces Of A Dream. Between the two of them, they have played with such artists as George Benson, Al Jarreau, Aretha Franklin, Count Basie, Lou Rawls and too many others to list.

The twelve track album is a c-jazz delight. Highlights include songs "Holdin’ On", with beautiful vocals by Phil Perry on this soulful nugget. Terea Anderson contributes a nice vocal on "Get Away." "Chocolate" (see youtube box above) rocks with a steady groove and sax work by Greg Riley lays a tasty topping to this delightful souffle. "Sincere" is a wonderful mellow tune assured of putting in you in a nice place to help keep your head mellow and straight.

Harmon and Sims have a great new album covering a variety of moods that should more than satisfy their fans from Pieces Of A Dream and I can’t wait to see what their next outing will deliver. I definitely recommend...

Ian Cooke
The Urban Music Scene.com

All Music Reviews are property of The Urban Music Scene with Copyright (C) The Jordan Music Group, 2007-2010 | All Rights Reserved

Hart Ramsey | My Next Heartbeat

2011-11-16T23:51:46Z

Album Review: Hart Ramsey | My Next Heartbeat
by Brent Faulkner

Producer, jazz pianist, and pastor Hart Ramsey returns with his sophomore smooth jazz effort, My Next Heartbeat. On Heartbeat, Hart Ramsey assembles a cast of talented musicians to support him. Having had the opportunity of reflecting on Ramsey’s debut effort, my enthusiasm to reflect upon his sophomore effort was high. My Next Heartbeat is another solid album comparable at times to Ramsey’s debut, even if it is a shade less enthralling. Throughout the thirteen solid cuts, Ramsey’s musicianship and creativity shines brightly, even through less standout cuts. If nothing else is notable about My Next Heartbeat, Ramsey’s passion and musicianship are certainly present through its seventy minute duration.

“Two Roads” is a mid-tempo, easy-listening opener. While solid, there is a ‘lack of urgency,’ making “Two Roads” enjoyable, but perhaps a bit ‘too casual.’ Regardless, saxophonist Kelley O’Neill delivers a great saxophone solo and riffs throughout. Sean Michael Ray, also a co-songwriter, delivers a fine sounding slap bass, not to mention Ramsey’s own superb electric piano solo. Pleasant, “Two Roads” yearns for more ‘pizzaz.’ Ramsey, the great musician and producer that he is, delivers the goods on standout “Written in Red,” which features grand MIDI synthesized horns and programming by the master himself. More exciting and ‘urgent’ than the opener, Ramsey delivers given his smart harmonic progression, and his use of differentiation and variation on this particular cut. His acoustic piano playing is ‘none too shabby’ in itself. The chivalrous “The Commitment” adds soulful vocals by Robert Moe: “I’ll never leave you/I’ll never go away.” Ramsey’s comping is superb; the production - where the volume levels of the acoustic piano are raised as the prominent part - is a reflection of Ramsey’s high IQ as both a musician and producer. Somewhat like the first cut, “The Commitment” could use an extra ‘push,’ but given it’s laid back, R&B-crossover feel, the ‘chill-factor’ of “The Commitment” is more than effective.

“See Into Me” has a moodier quality than previous cuts. Kevin O’Neill’s saxophone playing is low-key for the most part, until a rousing solo appears closer to the end of the cut. Ramsey as always impresses as a performer and producer. The main issue is the length, with this cut clocking in over six minutes. “Look You in the Face” is one of the album’s highlights, featuring one of the most laid-back, yet addictive grooves of the effort. The use of muted trumpet (Joey Summerville) in tandem with Ramsey’s acoustic piano lines is definitely ‘celestial.’ Ramsey’s electric piano patch as a backdrop is well conceived, as is Rick Watford’s subtle, soulful guitar. The title track (“My Next Heartbeat”) doesn’t lose any momentum, with Ramsey’s musicianship accentuated at the upmost level. Again, the MIDI orchestrations are beautiful, and the tasteful contributions from Kelley O’Neill on sax and Eric Essix on guitar make “My Next Heartbeat” a winner. Six tracks in, Ramsey does not ‘drop the ball.’

“In Spite of Myself” is enjoyable, though not revolutionary. That said, Rick Watford’s guitar work is exceptional and highlights the cut. “Until The End of Time” and “Merry Heart (Like Medicine)” similarly are strong, though not necessarily the ‘cream of the crop.’ “Cover Me” is lovely, featuring a solid underlying harmonic progression and an incredibly ‘fiery,’ though low-key groove. Ramsey’s soloing on keyboards is superb while O’Neill shines as always. “Start Now” is pleasant while penultimate cut “The Better Part” sounds a bit too similar to previous cuts. “Don’t Be Afraid to Try Again” ends the album solid enough with its R&B-ish groove.

Overall, My Next Heartbeat is solid. The main flaw might be the length and repetitiveness of a couple of tracks. At seventy minutes, the album runs a bit long as a whole. Flaws aside, Ramsey has delivered another solid smooth jazz affair. Even if it’s not as exciting as his debut at times, this sophomore album shows how powerful and noteworthy Ramsey’s musicianship is. Furthermore, there is definitely a certain spiritualness given off by Ramsey’s uplifting music.

Brent Faulkner
The Urban Music Scene

All Music Reviews are property of The Urban Music Scene with Copyright (C) The Jordan Music Group, 2007-2010 | All Rights Reserved

The Angela Bofill Experience f/ Maysa | at Anthology in San Diego, Nov. 5th

2011-11-13T03:14:04Z

“The Angela Bofill Experience f/ Maysa”
Anthology - San Diego
Saturday - November 5, 2011 - 1st Set

by A. Scott Galloway
(Photos: Eric Sarmiento)

Cuban/Puerto Rican singer/songwriter Angela Bofill’s debut album, Angie, arrived in 1978 on the then-new audiophile GRP Records label. She offered a first class blend of jazz, soul, pop and Latin strains that showed tremendous promise. The quality of her music and career took several twists and turns from that point to now with most agreeing that of her ten studio recordings, the first four Arista-distributed albums in the late `70s/early `80s (and an underrated CD she recorded in 1996 for Shanachie Records titled Love in Slow Motion) are her finest. There has never been another artist quite like Bofill in that she has earned staple classics in all four of the above genres but is most lovingly recalled as a pioneering queen of the Quiet Storm.

Tragedy struck for Bofill via strokes she suffered in January 2006 and July 2007. With the love and support of family and friends, she has convalesced and received therapy that now enables her to occasionally do unique shows she calls “The Angela Bofill Experience.” Ms. Bofill is unable to sing at this time, so what she does is share life stories in her own “sit down comedienne” style while a band led by her longtime friend flautist Dave Valentin and featuring singer Maysa Leak perform her classic songs. That unit flew into the posh yet comfy supper club Anthology in San Diego, California to grace her Southern California fans with song. I faithfully made the two-hour drive down to catch the first set and see what it was all about. What followed was bittersweet.

The band got its bearings by setting the mood with John Coltrane’s classic “Equinox.” Then Maysa and backup singer Angela Phillips stepped out for Bofill’s theme "Angel of the Night," in the middle of which Angie was ushered to the stage to a respectful standing ovation. The lady looked great in a black suit with a white blouse and a stylish cane. She had clearly lost quite a bit of weight – a long struggled for triumph. As one would expect, Ms. Bofill’s speech, though much improved, is still a bit labored, but the ever effervescent entertainer compensated for this with her innate charm and humor. Sure there were a few awkward moments, delayed cues and pregnant pauses, but it mattered little. What the people came to do was not so much see a slick show as spend a genuine intimate evening with a musical friend.

The music continued with a bumpin’ thump through Angie’s Narada Michael Walden-produced club smash “Too Tough.” On this number, they superimposed footage in sync with the band of Angie performing the number on “Soul Train” to funky effect. This was followed by the glorious “This Time I’ll Be Sweeter,” a song that Angie recorded the definitive version AFTER recordings by veterans such as Martha Reeves and Roberta Flack. Maysa empathetically tapped into the same sincere tenderness that set Angie’s version head and shoulders above the rest. Then in perhaps the most sentimental portion of the program, Angie shared the sad news of her nephew’s tragic passing in a car accident. What followed was a slide show of his life set to the piano and orchestra accompanied strains of the original recording of a song she wrote for him shortly after he was born titled “Little Pas (Rainbow Child).”

Picking up the pace, the group (anchored by bassist Kevin Walker and drummer Greg Phillips) next dived into the mid-tempo groove tune “What I Wouldn’t Do (For the Love of You)” on which Angie was moved to gleefully bonk away on cowbell. Special guest Marion Meadows on soprano sax and Valentin on flute playfully traded 8s and 4s on this one, extending the feel good vibrations of the groove. Meadows also shared about how deeply Bofill’s music inspired him as a musician in his college days after he went to see her in concert. Then came a powerful rendition of Angie’s anthemic ballad “I’m On Your Side” which featured some especially reverent piano playing by Moe Daniels. What could this band possibly do to top all of this? They turned to the song that the majority of those present were most anticipating: “I Try.”

“I Try” is to Angela Bofill what “Guess Who I Saw Today” is to Nancy Wilson. It remains her signature and is still played regularly on Urban AC and Jazz radio stations. She wrote the song (which opened her 1979 sophomore album Angel of the Night) about a drummer boyfriend that did her wrong. In a simpatico twist of fate, singer Maysa just recently experienced a breakup and duly poured her heart into the song with a passion that made the number easily the highlight of the set. It didn’t hurt that Maysa had also just recorded her own version of the song for her just released new CD, Motions of Love (Shanachie). Moving from improvised punctuations at the end and some impressive jazz scatting, she dipped into some vocal areas that transcended the more commercial aspects of her own albums. Even Angie herself was sitting transfixed. There was also a comic moment when Maysa got carried away singing about how she cooked and cleaned for her do-wrong man which snapped Angie out of her blissful spell to shake her head vigorously “no” and wave her finger at the crowd as if to emphasize, “That wasn’t part of my script!”

The warmth of the presentation overall was matched by the cozy class of the state of the art concert venue. With its soft lighting, tasteful art pieces on the wall, plus the sexy nooks and crannies to be found on all three floors, I dare say Anthology is so lovely you want to kick your shoes off and stay awhile…if not all out move in. Indeed, during the second set, there was dancing in the aisles – fast and slow – and some bawdier commentary from Bofill more apropos for “the late show.”

“The Angela Bofill Experience” is a once-in-a-lifetime hang with a truly special artist…but one's heart must be prepared.

A. Scott Galloway
Music Editor
The Urban Music Scene
November 11, 2011

All Music Reviews are property of The Urban Music Scene with Copyright (C) The Jordan Music Group, 2007-2010 | All Rights Reserved

Keith Sweat | A Christmas of Love

2011-11-13T01:58:07Z

Album Review: Keith Sweat | A Christmas of Love (2007)
By George Strand

(Published Dec. 10th, 2009)

The Holiday Season. Beckoned with warmth, seasonal temperature changes & gift wrapping paper scattered all over the tables & floors. Lets not forget about the many spices & candles, the outdoor home light fixtures & a traditional choice of the decorated Christmas Tree. Along with visiting family not seen in recent years & so forth. That's if you celebrate Christmas that way. Many do. Many don't.

But one thing's for sure: Christmas music can resonate a feeling of peace & a moment of reflection. A time to listen in on your favorite artists as they re-produce some of the most memorable songs & covers from tracks embellished years ago. One CD out of all of them in my collection: The Temptations, The Whispers, Luther Vandross, Whitney Houston, Vanessa Williams, etc ...one stuck out like a sore thumb. And I say this in good gesture.

Keith Sweat's "A Christmas of Love". A completely different twist to the way certain holiday carols are sung. Mr. Sweat generated 9 songs for an otherwise very appealing & well structured set of on-the-way classics. And he created 8 out of the 9 tracks on the album as originals.

Released in 2007, I found this hip urban piece of music fantastic. Very catchy with a message significant to the times we are in. The grooves were proven of that ol' New Jack Swing movement and he cascades the lady(ies) with a heartwarming set of slow ballads. A couple of rap solos were heard, but the subject remained the ever popular topic of honoring Jesus Christ as the reason for this season.

Tracks like "Be Your Santa Claus", "It's Christmas Again" & "Under The Tree" illustrated the snowflakes flowing in the background window scene, as you walk with a cup of eggnog in hand, while "Party Christmas" may make you put on a coat & some slippers - steadily raising the bar for an invite to a breakout Christmas Party in your neck of the woods.

An official bottle of Christian Brothers eggnog w/brandy & some cinnamon sticks may come handy when you skip to track #5 in "All I Want For Christmas". It sounds much like many of his trademarked, master slow jams & sensual 'turn-ons'. Is that also what the holidays can bring between romantic lovers? Put a check mark next to this one.

The only 'cover' was a fine interpretation of "The Christmas Song", which could be interesting to hear for many of you considering Keith's style to R&B music.

Nonetheless, I appreciated his offering. It's been a second since his last chocolate dropping, "Just Me", came around the way. I fully expect Mr. Sweat to keep the game in check with more mesmerizing slow cuts to float up the river stream soon. As for the Christmas musical candy cane, I grade it a 3+ out of 5. If it sounded that good from the beginning, there should have been a couple of more tracks. Holiday music is meant to last year over year. This one will do so. But it could easily burn itself out with not enough morsels to bite on, if you know what i mean my friends.

Merry Christmas T.U.M.S. Readers.

George Strand
The Urban Music Scene

All Music Reviews are property of The Urban Music Scene with Copyright (C) The Jordan Music Group, 2007-2010 | All Rights Reserved

Maysa | Motions of Love

2011-11-11T15:45:01Z

Album Review: Maysa | Motions of Love

By Peggy Oliver

Mentored by an urban music icon and raised by a U.K. jazz soul band, Maysa Leak has breathed sweet life into many songs from the vaults of soul, R&B and jazz catalogs and conveyed many personal tales of love found, lost and found. And though there are still more achievements to conquer, such as developing a stage play about jazz legend Sarah Vaughn, Maysa has etched amazing musical memories, primarily with Stevie (Wonder) and Incognito. For nearly twenty years, Maysa remains firm as a much respected figure for the contemporary R&B and jazz community; since the time a jazz label executive eminently declared the introduction of a solo career.

While studying music at Morgan State University, Maysa found her dream backup vocal in Stevie Wonder’s band, Wonderlove. Without necessarily realizing what the next level would entail, she auditioned for Incognito’s founder Jean-Paul ‘Bleuy’ Manunick in between touring. Naturally, Maysa selected a Stevie song - “Don’t You Worry Bout a Thing.” Nonetheless, this song choice brought Maysa into a long-lasting relationship with the Incognito family. Both their careers then shifted into complete overdrive with Tribes Vibes + Scribes – the band’s first major exposure in 1992 to U.S. urban audiences. Three years later, Maysa was embraced by the contemporary jazz market with four consecutive chart-topping discs for GRP & N-Coded Music. The Shenachie Entertainment era for Maysa began in 2006 with a succession of sophisticated reinterpretations of jazz and soul masterpieces on Sweet Classic Soul and Feel the Fire.

Maysa’s ninth solo project and latest Shanachie release, Motions of Love, encompasses mostly original songs of love, heartbreak and hope; plus a big blast from the past. Her extensive musical training and savvy still shines through with vocally sound colors even while expanding beyond her sophisticated jazz/soul trademark with hip-hop, disco and country. In the dance department, the vibe of Incognito and that funky acid jazz flavor runs very deep on the opening, “Get Wit Me.” Singer/songwriter Angela Johnson’s gets into the motions with her sweet disco dripping production, “Day N Night,” honoring disco stylists Linda Clifford and Thelma Houston; though with a slight twist, as Maysa AKA MC Macey Mace slips in a seductive rap verse. “Love Sweet Love (LSL)” is another disco delight, co-written by band mate Charles Baldwin. Zoning in on the neo-soul front, Maysa’s sultriness is framed by Dwele’s suave tenor on the groove laden, “Flower Girl.” There is some tasty New Orleans morsels powered by the unplugged, ‘kicked to the curb’ thriller “Your Name’s Not on That List,” anchored by Baldwin and Richard Tucker. Maysa seamlessly bridges Latin jazz and gospel sensibility with “Hold On,” one of the few organic selections featuring a six piece band and choir.

Then there are the ballads with gripping storylines and Maysa’s confident vocal execution. For instance, the title track broods over the love games people play and the country-tinged “When It’s Over” where the love interest is dumped via voice mail. Yet two particular tracks stand out for obvious reason. “Have Sweet Dreams,” a song especially written for Maysa by Stevie Wonder and Kimberly Brewer, is full of Wondersque swoops from the classic soul melodies to the harmonica frosting. Then there is Angela Bofill’s “I Try,” as Maysa’s intricate voice fully amplifies the poignancy and vulnerability of Bofill’s 1979 version.

Sincerity, humor and a warm, poised voice who embraces soul and jazz to the maximum. This is what makes Maysa tick and why Motions of Love clicks in every way. As a aside, I can envision Maysa working it out as Sarah on the big stage in the near future. Five out of five stars.

Peggy Oliver

The Urban Music Scene

Keith Sweat | Til The Morning

2011-11-10T14:26:07Z

Album Review: Keith Sweat | Til The Morning
By Susan Mutharia

Keith Sweat is done 'riding solo' and is back with an album that his fans deserve. It was hard to forgive Sweat for a couple of songs in his last album (Riding Solo, 2010). However, after listening to his new album Til The Morning, I am ready to kiss and make up.

Keith Sweat is back to his roots and you are going to love this album. He first caught our attention with his debut and sophomore album, 'Make It Last Forever' and 'I’ll Give All My Love To You', respectively. His success has only grown over the years not only as a singer but also as a producer working with groups such as Kut Close, Silk and Dru Hill.

In his new album, Sweat begins luring us with Knew It All Along featuring Johnny Gill and Gerald Levert or LSG as we knew them. The song is a promising introduction to the album and an honorable way of keeping the love and memory of the late Gerald Levert alive.

Ladies, you will like this! Remember when Sweat sang Nobody and convinced you he was the only one who can love you til the band keeps playing “on, on, on and on, on?” He is rekindling that fire with the track High As The Sun. If he does not have you where he wants you after that song, he is willing to Make You Say Ooh and he will not stop Til The Morning. Don’t be too quick to judge, he wants more. He wants to know your Ring Size so he can make it right. If you are willing to take him back, he has an Open Invitation. He sings, ‘I never changed my number / still have the same address/ what are you waiting for my darling/losing you I regret…../There is an open invitation you just got to get here..”

In this album, Sweat also collaborates with another R&B singer, Coco of the group SWV, in the song My Valentine and perhaps in an attempt to win new fans, Sweat also works with T-Pain in the upbeat song To The Middle.

Keith Sweat is back to the basics and I hope he can stay here. In Til The Morning, Sweat circles back to the sound that made him, yet manages to keep the album fresh and appealing. Tune to Centric TV on November 12 and watch “Keith Sweat’s Hotel” and “As Written” that will focus on his life and the making of this album.

Susan Mutharia
TheUrbanMusicScene.com

All Music Reviews are property of The Urban Music Scene with Copyright (C) The Jordan Music Group, 2007-2010 | All Rights Reserved

Johnny Gill | Still Winning

2011-11-09T15:11:51Z

Album Review: Johnny Gill | Still Winning
by Brent Faulkner

After fifteen long years, R&B veteran Johnny Gill releases only his sixth solo release, Still Winning. Gill’s last high profile appearance of note was back in 2006 in Tyler Perry’s Madea’s Family Reunion in which he performed “You For Me (The Wedding Song).” That song, though not a ‘hit’ per say, showed that Gill still had the ‘pipes’ that made him such a popular force in R&B. Still Winning, despite honing in on Gill’s incredible vocal talents, never quite does the R&B singer the justice it should. He sounds polished oscillating between sweet falsetto and soulful, grit-laden growls, but the material sags at times, failing to be noteworthy or truly memorable. Despite this, Gill sings on and shows off why he is ‘still winning.’

“Still Winning” opens the effort with clunky-production that sounds better intended for a younger, more contemporary artist. It is not that Gill cannot sell it, but it is a bit ill-fitting considering how refined and polished Gill sounds - more like the Freddie Jackson or Keith Sweat era of R&B males. Additionally hurting the cut is the over-repetitious lyrics ; “still winning” is overused by ‘a mile.’ “Let’s Stay Together” proceeds providing some slight sense of atonement, though it is far from Bryan-Michael Cox’s finest production or Gill’s valedictory moment of his career. Solid, soulful background vocals help to assemble the backdrop for Gill to paint his silky smooth, sometimes gritty lead vocals upon. The bride section is a high point as well. As “Let’s Get Together” evolves, the track grows on the listener gradually. Still Winning gets off to somewhat of a sluggish start.

Finally with “In The Mood,” Gill finds a cut that connects well with his vocal talents and with his audience. The production is superb, the background vocals serve their supporting purpose, and Gill sounds electrifying for the most part. The only quibble? At over five minutes, Gill and producers could have indulged a bit less. “Just The Way You Are” keeps the momentum going (co-written by Johnta Austin, Troy Taylor and Vincent Watson) with perhaps the album’s best cut. The sound is contemporary-R&B leaning in the adult contemporary direction - a sound that has come to characterize and epitomize Gill. The straightforward, straight-laced sound does Gill great justice, not to mention the solid songwriting and perfect length of four minutes. “Black Box” would not dare compromise the ‘hot streak,’ with Gill’s vocal ad libs hitting a lofty peak. After a slow start, Gill manages to generate some momentum.

Unfortunately for the rest of Still Winning, inconsistency of material hinders. “Long, Long Time” is great in concept, even if it never quite ascends to its full potential. Featuring soulful vocals from Eddie LeVert (The O’Jays, Gerald LeVert’s father), the cut layers a couple too many voices in once setting. Bryan-Michael Cox, to his credit, assembles a better, more notable production than “Let’s Stay Together.” “2nd Place” is another cut that has the right concept, but even with flagship vocals from Gill, he is never quite able to make the uninspired songwriting ‘inspiring.’ Vocally a masterclass, it isn’t Gill who lacks, but rather the songwriting or perhaps just the drabness of the songwriting theme. “Who Is He” features a fine array of archetypical 1980s sound effects. Again, Gill sounds inspired, more-so than the material itself. By the end, “Who Is He’ turns into an overwrought, melodramatic cut. At 5:19, it proves just to be too much. “It Would Be You” is an easy going ballad that brings nothing revolutionary while “My Love,” a Paul/Linda McCartney classic, highlights Gill’s smooth vocals, though is forgettable as the closing cut.

Essentially, Still Winning does find Gill ‘winning’ vocally. Unfortunately, even given some traditionally great songwriters (Troy Taylor, Bryan-Michael Cox, etc.), some of the songwriting results are mixed or unimpressive. If Still Winning were only about Gill’s commanding vocals, there would be no issue. However, hoping for a quicker release of his seventh solo album, one hopes that Gill’s songwriters develop better material for him to work with.

Brent Faulkner
The Urban Music Scene

All Music Reviews are property of The Urban Music Scene with Copyright (C) The Jordan Music Group, 2007-2010 | All Rights Reserved

The Revelations feat. Tre Williams | Concrete Blues

2011-11-02T14:55:49Z

Album Review: The Revelations feat. Tre Williams | Concrete Blues
By Peggy Oliver

Tre Williams was one of the most coveted voices in the millennium hip-hop nation collaborating with Wu-Tang Clan, Petey Pablo, and Nas, as well as the focal point for a mix tape on Nas’ Ill Will Records: Street Gospel: The Old Test of Men. Though Williams kept company in the hip-hop field for a few years, he eventually pursued an avenue to express his voice on a solo level. Fueled by his biggest inspirations Otis Redding, Johnnie Taylor and others, Williams has been preaching his own southern fried message since he formed The Revelations, with the assistance of producer Bob Perry. Their debut, The Bleeding Edge, in 2009 served a delicious plate of sixties and seventies soul inspired by Atlantic, Hi and Stax Records; stamped with street machismo and Williams’ and co-lead vocalist Rel’s gritty narratives that captured deeply personal tales of love lost and found. Despite little commercial success, The Bleeding Edge was a welcome alternative to the mainstream R&B fare that lacked organic flair and passionate vocals and won over the devoted underground urban fan base.

With a nearly two year absence, three core member of The Revelations and Williams return for Concrete Blues; a happy medium between sprinklings of contemporary R&B and plenty of southern soul. Though Tre’s vocal partner in crime Rel is missing, the classic grooves and Tre’s no holds barred tenor still provides plenty of gusto. Beside Revelations' members Williams, guitarist Wes Mingus and drummer Gintas Janusonis who recorded Concrete Blues at Willie Mitchell’s Royal Studios (guided by Mitchell’s son Lawrence and Bob Perry), they are aided by southern soul cats like bass guitarist James Alexander and keyboardists Charles Hodges and Lester Snell. In adding another dimension to their lyrical repertoire, Williams and The Revelations dedicate part of Concrete Blues to relevant issues of humanity.

Williams certainly knows how to connect with audiences so they can relate to stressful situations. The opener “Something's Got to Give” rocks the house with some nifty slide guitar while addressing the frustrations responsible people face in everyday life: “He’s willing to work/Ain’t no work/So there’s got to be a misunderstanding.” On the title track, there are the claims of gas prices rising and concerns about surviving the tough times: “Life ain’t never been fair” underneath a smooth blues soundtrack. “Trouble Man,” anchored by a scorching guitar solo from Mingus, emphasizes with one trying to stay focused and strong no matter what life tosses them: “But through it all I carry the weight/I have no time to worry bout what people think.” One of the most appealing storylines on Concrete Blues is “Behind These Bars,” where the tormented thoughts of someone behind bars run wild: “It’s hard loving somebody behind these bars.”

For a slight change of pace, the rhythmic R&B ballad “How Could You Walk Away,” driven by hypnotic piano loops, begins the second cycle on Concrete Blues that centers on romantic love. But it is that southern soul cooking where Williams lets it all vocally hang out for “One Reason To Stay” - “I changed my life…my heart…my world all for you” - “I Gotta Have It” - I’m trying to play by the rules” and “Lonely Room” about filling up that cup of love to the brim. As for the covers, Williams and The Revelations revisits one of the more obscure yet appreciated blues singers in modern history, Ronnie Lovejoy, with “Until You Get Enough of Me.” The brass section adds some spark to this slow simmering jam to those places that “only you and I know.” And there are plenty of funky strings, flute breaks and reverb guitar gently stroking the Johnnie Taylor classic, “Don’t Wait.”

For those who want a refresher on Williams & The Revelations’ debut bow, there are three encores from The Bleeding Edge: “Everybody Knows,” the remake of Lattimore’s “Let's Straighten It Out” and “I Don't Want To Know.”

On Concrete Blues, Williams & The Revelations strikes again with a hefty second helping of raw, untainted music for the soul. And it is more than apparent that Williams continues to largely embrace his childhood heroes in Redding and Taylor that eptimized the southern soul movement oh so long ago. Five out of five stars.

Peggy Oliver

The Urban Music Scene

Eric Clapton & Wynton Marsalis, Play the Blues: Live from Jazz At Lincoln Center

2011-11-01T21:47:55Z

Album Review: Eric Clapton & Wynton Marsalis, Play the Blues: Live from Jazz At Lincoln Center
by Brent Faulkner

The expectation when two legendary musicians come together to record an album is that the musicianship is incredible. On Play the Blues: Live from Jazz At Lincoln Center, that expectation is met and even surpassed. Clapton’s vocal and guitar skills are unmatched while Marsalis’s Dixieland Jazz styled arrangements are nothing short of breathtaking - not to mention his virtuosic trumpet sound. While Clapton and Marsalis are the main attraction, the musicians assembled by Marsalis shine just as brightly as the headlining artists. Add Marcus Printup on trumpet, Victor Goines on the clarinet, Chris Crenshaw on trombone, Dan Nimmer on the keys, and Carlos Henriquez on bass, among others including guest spots from Taj Mahal and you have nothing short of magnificence epitomized. Play the Blues sho’ doesn’t disappoint, recreating the Dixieland sound and blues idiom perfectly.

“Ice Cream” is a superb way to open the effort with Wynton recreating the traditional Dixieland sound. Clapton’s vocals are edgy and commanding, helping to shape the grandness of this cut. Chris Crenshaw’s trombone solo is highly representative of the idiom and a high point, but he certainly doesn’t out perform his highly talented contemporaries (Victor Goines, Marsalis, Clapton), who all have superb solos as well. The banjo is a nice touch as well. “Forty-Four” is more shocking as Clapton vocally sounds edgier than he ever has. Clapton is more commanding as a soloist as well on this cut, delivering nothing short of a bluesy, potent punch. The consistency keeps going strong on “Joe Turner’s Blues, “ which has an incredibly lazy blues feel. At times the arrangement grows the slightest bit cacophonous, very much a part of the lazy, traditional Dixieland sound. The piano playing (Nimmer) is superbly executed here with a minimal ‘less-is-more’ approach working fabulously.

“The Last Time” finds Wynton Marsalis showing off his virtuosity with a fantastic solo early on. Trombonist Crenshaw again steals the show with his convincing growling trombone sound (not to mention using the plunger mute) while pianist Nimmer opts for a stride-piano approach here. As great as “The Last Time” is, “Careless Love” is a showstopper given its lazy, relaxed blues feel. The arrangement, filled with gospel references and sporadic riffs from Clapton on guitar, is one of the best of the album. Bassist Carlos Henriquez is allowed to show off with solo passages, which is another high mark. “Kidman Blues” contrasts “Careless Love” with a double-time, uptempo feel. The length is less expansive, which is another plus after many songs approach the eight minute mark.

“Kidman Blues” was impressive, but the sole track that is not from the Dixieland Era, “Layla,” may be the valedictory cut from the album. Wynton’s cacophonous take on Eric Clapton’s blues classic showcases some of the best orchestration of Play the Blues. Clapton’s vocals are strong and powerful and the overall change of pace is perfectly articulated. “Joliet Bound” is less captivating, but still a high watermark musicianship if nothing else. “Just A Closer Walk With Thee” adds Taj Mahal to the mix and while it is another stunner, it’s twelve minute plus length may be a bit much for the more casual listener. Closing cut “Corrine, Corrina” is as solid as everything else without eclipsing the very best.

Overall two legends meet and exceed the expectations (as they should) on Play the Blues: Live from Jazz at Lincoln Center. While both musicians are past the ‘peak’ of their careers - Marsalis is fifty and Clapton is sixty-six, neither has lost their luster as innovative, extraordinarily talented musicians. Play the Blues: Live from Jazz at Lincoln Center is an album that no consummate blues or jazz fan should overlook. It is nothing short of brilliance.

Brent Faulkner
The Urban Music Scene

All Music Reviews are property of The Urban Music Scene with Copyright (C) The Jordan Music Group, 2007-2010 | All Rights Reserved

Shirley Murdock | Live: The Journey

2011-10-25T16:25:14Z

Album Review: Shirley Murdock | Live: The Journey

By Peggy Oliver

There are plenty of saints - to sinners - to saint’s stories within the gospel music industry. It is quite commonplace for artists to maturate their voices in the church before taking the gifts to the secular side for such a season; before they recall the strong foundation they received thru solid Christian teaching. Shirley Murdock was raised on gospel in her hometown of Toledo, Ohio but her claim to fame was as part of the R&B/futuristic funk outfit Roger Troutman & Zapp. When Shirley Murdock reentered the gospel world on Sacred Love Songs and God’s Leading Ladies (both courtesy of Bishop T.D. Jakes’ ministries) in 2002, she was coming off a respectable career with Zapp and as a solo artist, highlighted by her biggest hit, “As We Lay.” Though the steamy song was filled with controversy, Murdock punctuated the fact that there are consequences to one’s actions in adulterous relationships. Murdock occasionally pulls this song out during her gospel programs, yet only refers to her old catalog when the spirit leads her; a move that would make some quite uncomfortable, and understandably so. But sometimes even the testimony of one who strayed from her upbringing can be victorious over their past circumstances. It was only proper that her debut gospel release (also in 2002) should be entitled Home (on Jakes’ Dexterity Sound imprint) that featured her motivational anthem, “The Dream That Would Not Die.” As an accomplished actress for the past two decades, Murdock has toured with inspirationally fueled plays, including Be Careful What You Pray For.

On her latest for Tyscot Records, Live: The Journey is jam packed with Murdock’s hard testimonial hits that come from a deep place. And Murdock invites several soulful sisters to the party. “It’s In Your Hands” from her debut, Home, kicks it off old school soul style about handing trust over to Jesus: “I didn’t get much sleep last night/I’ve been pacing the floor, Jesus, talking to you/ And from the looks of things at the hospital/ The doctors need to talk to you too.” ”Upward Way” is a slow sizzling romp teaching one to press on to what God has for them, amplified by Regina Belle’s jazz-inflected solo and a chance to play tag team with Murdock for the climax. There is always room for fundamental church service as Beverly Crawford and Murdock tear it up on “He Is The Rock,” a soul cleansing, stress relieving solution from the heavy handed work week (Can I get a witness here?). Though Murdock is unafraid to inject some sassy anecdotes: i.e. “God is bigger than your sidestep,” on “Word,” she knows how to be still and know that He is God; as in the case of “Lord You Reign” from the pen of worship veteran Leonard Scott. The pace picks up again with “Rejoice Come On” baked with that New Orleans thunder and the bluesy swagger of “God Can Do Anything.” Kelly Price (another of God’s Leading Ladies who teamed with Murdock on “The Curtain’s Raised”) feed off each other like butter on the elegant R&B/pop ballad “Keep Lovin’ Me.” Finally, the power ballad “The Dream That Would Not Die” (now renamed “Dream”) should encourage those who are still finding that destiny in their lives.

As usual with everything she graces, Murdock is extremely confident and in charge throughout The Journey. Yet the song selection sinks into mediocrity at times (“Winner,” “Someday,” “The Word”) despite the efforts of Murdock, the choir and the soulful sisters to spark the atmosphere with their radiant performances. For the most part, Live: The Journey opens up another door for Murdock to testify what she has learned in the past and where her faith in Jesus continues to evolve. Three and ¾ stars out of five.

Peggy Oliver

The Urban Music Scene

Joe | The Good, The Bad, The Sexy

2011-10-25T00:47:14Z

Album Review: Joe | The Good, The Bad, The Sexy
By Stella Titus-Ayala

JOE...., um, um, UMM! “The Good, The Bad, The Sexy" album is another reason why JOE isn’t going nowhere anytime soon. The first track “Losing” reminds me of my own silly emotions of the relationship highs and lows but a strong message from the male perspective with yet another softer touch that even us women can feel. Made me feel like I was listening to a new school Lenny Williams. I wanted to reach out and touch a man!

“Time Of Your Life” once again the great lover man “JOE” appears for what would seem an encore appearance of making us women feel like we are deserving of praise, pampering and pedicures! I, for one, am all into the sounds of this track and the men being this caring and smooth sounding. As the third track “Almost There” began, I wasn’t sure where “JOE” would take it… Then the lyrics came and I found myself caught up in the moment of feeling him. This track can go either way for the men trying to say something or for the ladies that need to hear something good. This is just what the love Dr. ordered.

Absolutely love this next track! “Circles” by far is some heat! This track grabs my attention because of its outlook on the safety of why some of us stay in a relationship rather than being bold enough to go it alone… Only “JOE” could deliver such a tender matter of the heart to sounding so sexy. “Pull My Hair” 100% FIRE!! Now this track is why “JOE” remains not only in the game but at the top of it. Ladies and Gents please play this with caution it’s definitely a heater… A must buy song for the album. “Dear Joe” is so sexy, a real hot track for the good men out there going through some thangs… A real turn it on and just drive kind of song for the fellas. “Slow Kisses” is such a gentle reminder that intimacy is still a beautiful thing between lovers. Ladies holler if you hear me! “Lose Control” almost made me lose myself … Well, for the moment that is, just another reason to get on the “JOE” love train.

“Tonight” is the hottest and my personal favorite track on the album coming from a poetic musical background. This is for sure the type of ideal man I like and women are in need of… Ladies, if you got a man like this Love him well. Gentlemen, if this is how you’re feeling your woman then you are loving her right! OFF THE CHAIN! Definite instant slow jam rotation. “Impossible” is a touching heartfelt song full of great lyrics. This one too is for the gentlemen. I love how “JOE” shows his neutral side for them, yet his versatility for the game of love from both perspectives for the ladies and the good men who love them. Finishing up the album with the track “Drink Up” to say the least “JOE” has reinvented sensuality with this track. “Drink up” reminds me of a hot sensual night where the only thing that can cool you is a nice ice cold fudge pop… Nothing like a good melting fudge popsicle to cool your mouth! Classic, Sexy, Erotic. “JOE” simply delicious.

Without a doubt this album is definitely staying in my IPOD rotation of slow jams and smooth R&B. This works, like I said, for the male and female hearts and egos. The lyrics are heartfelt, the music is smooth and sexy just like “JOE” does on any project he touches. This is a must have ALBUM! “JOE” has brought The Good, The Bad, The Sexy altogether for one smooth entertaining sexy ride. But don’t take my word for it: get the album and just hit play to the erotic smooth sounds of “THE GOOD, THE BAD, THE SEXY.

Stella Titus-Ayala
Theurbanmusicscene.com

Richard Elliot | In The Zone

2011-10-24T21:29:02Z

Album Review: Richard Elliot | In The Zone
By Ian Cooke

Scotland born Richard Elliot celebrates his 25^th anniversary as a recording solo artist with this latest offering co-produced with Jeff Lorber. It’s a Winner!! Drawing upon his influences: legends Grover Washington Jr., Bob James and David Sanborn, In The Zone is a 10 song horn oriented delight. Eight tracks written by Richard himself, one with co-producer Jeff Lorber and one, a Marvin Gaye song.

Set opener "Island Style" is a smooth Caribbean groove and than segues into "Boom Town" the first single which has a funkier sound with fine guitar work by Dwight Sills and co-producer Jeff Lorber. Mr. Elliot provides a timely solo.

Throughout this new release, Elliot’s influences are represented. "Inner City Blues" is a tip of the hat to Washington’s early 70's version. The "Lower Road" is a gorgeous melody by Elliot with nice guitar work by Michael Thompson and Jeff Lorber with a nod to James gift for melodies.

In The Zone again proves why Richard Elliot is such a joy to listen and see in concert. He shows his love of music he played when first starting out. The type that provides joy and enthusiasm as he follows his heroes musical footsteps.

Ian Cooke
The Urban Music Scene

All Music Reviews are property of The Urban Music Scene with Copyright (C) The Jordan Music Group, 2007-2010 | All Rights Reserved

Tasha Taylor | Taylormade

2011-10-19T17:08:16Z

Album Review: Tasha Taylor | Taylormade
by Marv D.

The stunning debut from Tasha Taylor with her latest effort “Taylormade” is soulful and refreshing. Where in a world of auto tune and other fabricated sound products, sheer talent has emerged.

Tasha, who is the youngest daughter of legendary Icon Johnny Taylor, showcases the talent that runs throughout her entire family.

“Taylormade” is a CD deeply coveted in a soulful 60’s and 70’s style, but also mixed with a little of todays' contemporary R&B stylings. Tasha is definitely keeping the pure soul music tradition alive with this new project by incorporating live music along with each composition she either wrote or co-wrote. With that said, it makes it easier for her angelic voice to soar and identify with.

Songs like the sultry "Who's Making Love", the passionate "Somebody", the melodic "I Got Love", and tracks, "Queen", "Middle", "Badman", '"Refund", "Best Friend", "Daddy' Girl, “Merry Christmas Baby” & more takes you back to the old legendary Stax record label sound, without over doing it.

I highly recommend this one to you & yours & expect to hear more from Tasha in the near future.

Marv D.
The Urban Music Scene

All Music Reviews are property of The Urban Music Scene with Copyright (C) The Jordan Music Group, 2007-2010 | All Rights Reserved

Mayer Hawthorne | How Do You Do

2011-10-18T17:07:13Z

Album Review: Mayer Hawthorne | How Do You Do
by Brent Faulkner

Mayer Hawthorne is one artist in a slim field or R&B artists embracing the vibe and sensibilities of soul music’s glory days. The artist, who has dabbled in hip-hop as well, definitely does not look the part of the soul-revivalist that he is. Thankfully, looks are highly deceiving as hipster Hawthorne possesses one of the most soulful voices of a new generation of singers. An underrated talent deserving wider recognition, Hawthorne’s second LP How Do You Do (and debut on major label Universal Republic) is a superb effort with no outright misses. Hawthorne oscillates between chilling falsetto and gritty, unrequited soulful vigor. A well-rounded musician, Hawthorne truly sells How Do You Do nearly flawlessly.

“Get To Know You” is a perfect opener, showcasing a vintage, classic soul sound characterized by electric piano, fat bass line, and a simple ‘in-the-pocket’ drum groove. Relaxed and organic in sound, “Get To Know You” possesses superb, honed falsetto by Hawthorne, not to mention his capable songwriting. “A Long Time” does not disappoint nor miss a beat. Here, Hawthorne contrasts the tempo aiming for a more mid-tempo/mid-fast cut. The electric piano remains in full effect and the background vocal harmonizations - handled by Hawthorne - are the exemplification of excellent. Snoop Dogg doesn’t dare stand in Hawthorne’s way on another winner “Can’t Stop,” which is contemporary enough for a ‘young crowd’ yet never loses the soul aesthetic that Hawthorne has established from the onset. The refrain is the highlight: “I can’t stop thinking about you, the way you turn me on/I can’t stop thinking about you.” Three-for-three Mayer, three-for-three.

Fourth cut “Dreaming” has a 60’s soul-pop vibe mixing the sensibilities of say The Beatles and Dionne Warwick - light yet undeniably soulful. The highlight might be the light-hearted use of neutral syllables: “ba -ba-ba ba ba...” which truly epitomizes the late 60’s and early 70’s ideal. “The Walk” appeals to the ‘hip-hop generation’ in all its risqué glory aka Hawthorne manages to slip some strong profanity. Aside from his ‘gangsta,’ street-cred moment, “The Walk” is as refined and nuanced as anything else. The songwriting is perfect with Hawthorne sounding cool and hip as ever. How Do You Do just keeps getting better and better and better. “Finally Falling” wouldn’t dare compromise this excellence as it keeps the momentum going strong. 6-0 baby, 6-0. Undefeated.

“Hooked” and “Stick Around” may be a shade less enthralling than the best cuts, but are nothing short of ‘A-’ cuts. “Hooked” epitomizes 60s R&B with its brevity and use of horns. “Stick Around” features Hawthorne’s killer falsetto at its finest. The briefest cut, “The News” proves to be one of the album’s most creative cuts. The arrangement (a Hawthorne original as always) engages the listener because the listener wants to hear Hawthorne’s next move. A brilliant 1:37 to say the least! The rest of the album yields more solid and consistent cuts. “You Called Me” finds the singer achieving his most authentic grit, “You’re Not Ready” features a ‘to-die-for’ six-feel, while single “No Strings” finds Hawthorne legitimately ‘belting.’ Bonus cut “Henny & Gingerale” is the slightest bit repetitive, but as enjoyable as all of the other cuts.

Overall, Mayer Hawthorne does not miss in the slightest. Consistent, traditional, and soulful, How Do You Do is easily one of 2011’s Best R&B albums. Like Raphael Saadiq, Hawthorne is able to keep the vintage R&B sound alive. Highly recommended.

Brent Faulkner
The Urban Music Scene

All Music Reviews are property of The Urban Music Scene with Copyright (C) The Jordan Music Group, 2007-2010 | All Rights Reserved

Lalah Hathaway | Where It All Begins

2011-10-17T15:18:48Z

Album Review: Lalah Hathaway | Where It All Begins

By Peggy Oliver

Lalah Hathaway is one of the most entrusted vocalists the music industry has ever known. While many will always recognize Hathaway as the daughter of one of soul music's classic stylists, Donny Hathaway, she has etched her own voice by successfully capturing her father’s essence with her warm alto. Her dynamics of layering jazz sensibility with pop, R&B, soul and gospel is quite impeccable; giving urban music a sometimes needed fresh injection that started with her self-titled release in 1990. Her creamy vocal tones have graced many of contemporary jazz finest players – from Grover Washington to Joe Sample. Sample & Hathaway’s 1999 project, The Song Lives On, artfully bridged a traditional acoustic trio with adult contemporary R&B/Soul and introduced Hathaway to a mainstream jazz fan base. The list of other collaborations includes gospel impresario Donald Lawrence and eclectic musician Me’shell NdegeOcello. Hathaway also has a knack for covering treasures like Luther’s, “Forever, For Always, For Love” and Earth, Wind & Fire’s, “Love’s Holiday.” The touching tribute to Mr. Vandross also hit number one on the adult R&B radio charts in 2004.

Though her gift in uplifting audiences with a soothing vibe and her approach in conveying the essentials of fundamental soul music have been rarely been questioned, there were some struggles sharing her father’s bloodline. She initially shied away from persons asking her Donny’s contributions and has evaded covering her father’s material through the years under strong criticism of her peers. However, as she shaped her own career, Hathaway fully embraced her goal of creating a legacy similar to her father, but with her own niche. Now on her sophomore release for Stax Records -- a label she clearly embraces for spreading timeless R&B music to their audiences -- Where It All Begins gives Hathaway an opportunity in honoring her father with one of his biggest hits and navigating her honey-dripped alto through rhythmic R&B beats and other musical settings

Where It All Begins begins with a bang as Hathaway brings the funky on the hip-hop laced “Strong Woman” which teaches a hardcore lesson to women about checking themselves before wrecking themselves. The smooth neo-soul grooved title track is about remaining true to oneself: “Say what you mean/Do what you say.” “Small of My Back” illustrates the excitement of just being in love, and that excitement is matched with a jazzy disco flavor. The haunting ballad, “Lie To Me” draws plenty of vivid pictures; thanks to Hathaway’s true vulnerability and passionate connection to the storyline: “I can’t be mad at you cause nothing lasts forever.” “This Could Be Love” is an all too juicy scenario as Hathaway sorts out her emotions about the what ifs and otherwise of finding that special someone. Whoever was working duet casting for Where It All Begins found the perfect match as Rachelle Ferrell joins Hathaway on “I’m Coming Back,” resurrecting a song from her 1990 debut. This sophisticated piece of jazz chill serves up brushed snares, cradling guitar and airy keys. “Dreamtime” lists all of Hathaway’s favorites in a form of a simple lullaby; from “watching cartoons all day” to “flying high in the circus tent.” Finally, the piece de resistance is Donny’s “You Were Meant for Me,” spinning her gentle soulful web on her father’s timeless classic from 1978 but respecting the integrity of this top twenty R&B hit.

Though Where It All Begins caters to several age groups and genres, Hathaway’s crystalline voice does not miss a beat. However, there are two letdowns in “If You Want To” and “Always Love You” because of the abundance of hooks and lack of melodic ideas that weighs down the caliber of Hathaway’s talents. But overall, Where It All Begins proves Hathaway can still handle nearly everything that is musically set before her and proves why she is one of music’s elite collaborators in urban music. Four and a half stars out of five.

Peggy Oliver

The Urban Music Scene

Gordon Chambers | Sincere

2011-10-03T15:17:38Z

Album Review: Gordon Chambers | Sincere
By Peggy Oliver

Sometimes there are hidden gems among those songwriting geniuses whose labor of love has crafted hits for urban music icons.   Stars like Anita Baker, Whitney Houston and The Isley Brothers are more than acquainted with Gordon Chambers, whose heartfelt and on-point lyrics have graced the charts for many years. Just an ever so small taste of his songwriting credits include the Grammy winning “I Apologize,” by Ms. Baker, Whitney’s “My Love,” The Isley’s “Just Came Here to Chill” plus the smash hit “If You Love Me” by Brownstone. He credits his mature songwriting abilities from years of experience with producers like David Foster, Barry Eastmond (Billy Ocean, Mike Howard & Baker) and L.A. Reid -- who signed Chambers to his publishing company HITCO that housed many R&B elite songwriters. But this gentleman can blow as well; possessing a pure, effortless tenor voice that recalls smooth balladeers like Brian McKnight. His extensive resume of adult contemporary hits speaks for itself. Yet in 2004, Chambers started establishing his own fan base who constantly craved authentic love tales anchored with sophisticated orchestration through two solo independent projects from his Chamber Music moniker: Introducing Gordon Chambers (2005) – co-produced by Eastmond and Love Stories – both co-produced by Eastmond. Introducing presented a pleasing variety mix of Motown, pop and Chambers’ jazzy approach to “I Apologize.” Chambers never lost a beat heading into his sophomore disc from 2007, Love Stories, that featured a killer duet with neo-soul stylist Ledisi – “To Love Again” -- and his interpretation of “If You Love Me.” He also toured extensively for several years including an appearance at the Essence Music Festival in New Orleans in 2005.

After a four-year absence, Chambers returns to the studio after with Sincere; his most personal and absolute best work to date.   Though Sincere mostly leans on edgier orchestrations via a new generation of R&B producers such as Darien Dorsey and The BeatBanggahz, Chamber’s musical integrity of intriguing storytelling backed with classy vocals and orchestrations are never overshadowed. Sincere begins on an up-tempo note with “In the Band,” driven by catchy keyboards and drum tracks and the ever familiar tale about a musician trying to balance romance in his life. The title track addresses the men and women's relationship point of view. “Moody Love” spins the roller coaster ride of love: "You laugh/You cry/But when I ask you/You never say why." The truth can surely be told as the case of the first single, "I Can't Love You (If You Don't Love You)"; a lesson that needs to be taught frequently regarding holding one's own self-esteem.

Though Chambers has plenty of pleasing originals on Sincere, he is no slouch when it comes to time tested material. Paying special tribute to his favorite musical decade, the unplugged arrangement of "A Song for You" composed by Leon Russell is decorated with Chambers' caressing voice and the climatic gospel-tinged chants of "we were alone." Joined in duet by Sara Devine, a joyous, spontaneous rendering of Thomas Whitfield's “Walk with Me Lord" from the Blue Note in New York reflects Chambers' respect for a contemporary gospel pioneer. And once again, Chambers reaches into his songbook -- this time being "Missing You," originally performed by the superstar female vocal band of Gladys, Chaka, Brandy and Tamia from the 1996 soundtrack of Set it Off. This track generates a powerful relevance for Chambers as he honors lost R&B treasures (and mentors) Gerald Levert and Phyllis Hyman.

To excuse the pun, Sincere is sincerely one of the best R&B recordings of the year. From a beloved songwriter to a sweet vocal stylist, Chambers should not be overlooked as one of urban music's stellar talents of the past two decades.

Peggy Oliver
The Urban Music Scene

All Music Reviews are property of The Urban Music Scene with Copyright (C) The Jordan Music Group, 2007-2010 | All Rights Reserved