Reviews

Anita Wilson | Worship Soul

Administration — Mon, 30 Apr 2012 18:29:07 GMT

Anita Wilson
Worship Soul
(EMI Gospel)

By Peggy Oliver

On most live gospel recordings, it is customary for the church’s pastor or gospel music luminary to introduce the artist to the congregation. During the introduction for Worship Soul by Anita Wilson, her mentor Donald Lawrence pays this worship leader and singer/songwriter a significant compliment: “With a style all her own and a tone all her own.” Wilson absolutely backs that statement up by exuding a precious spirit that moves people to worship with such ease, control and confidence, and in her strong ability to handle various genres from traditional gospel to old school soul. Wilson clearly feeds off her wealth of inspirations - from “the queen of soul” Aretha to one of gospel’s royalty Vanessa (Bell Armstrong). Though she makes her solo recording bow on Worship Soul, Wilson has built quite a professional resume. For many years Wilson honed her craft with her family group and was featured with Shari Addison, DeWayne Woods and Vanessa Bell Armstrong. Recently, Wilson has played a prominent role in Lawrence-directed projects as a soloist on “The ‘Finale’ Tour” with Lawrence & The Tri-City Singers and as a current member in Donald Lawrence & Co.

With producer and co-writer Rick Robinson in the driver’s seat, Anita Wilson always manages to keep the worship in proper perspective without excess vocal acrobatics on Worship Soul. The material, most written by Robinson & Wilson, totally reflects Wilson’s heart in marrying her passion as a worship leader and as a die-hard fan of soul music. This EMI Gospel release was captured at Wilson's home church in Chicago, Fellowship Baptist Church, where she currently serves as the Music Minister. Because of Wilson’s association with Lawrence, it is to be expected that his brand of musical excellence and tight arrangements are all over Worship Soul.

The majestic orchestrations surround the opener “Have Your Way” while Wilson calmly illustrates her full trust in God: “I don’t mind, I would like for You to just have Your way / It’s alright, I would like if you would just have Your way.” “All About You” absolutely caters to the modern urban R&B audience but somehow Wilson’s vocal presence fits just like a glove. Stepping into the garments of praise in a smooth jazz package complete with lots of rhythmic shifts and a bit of swing, “Keep on Praisin’” speaks of the Lord’s greatness: “Lo, I am with you always, even to the end of the earth.” “He Shows Out” presents a funky blues-tinged testimony service about receiving that breakthrough as Wilson unleashes her more vigorous vocal side. The debut single, “Speechless,” is a love song to God: “I can say that you’re wonderful but it doesn’t seem good enough,” framed by a jazzy soul atmosphere that recalls Earth, Wind & Fire and Tower of Power. Last but never least, “More of You” unveils Wilson’s full spectrum of vocal colors – from rousing vocal passages to the four-minute soothing petition to the Lord in how He receives her praise and how she wants to conduct herself towards others.

Worship Soul fulfills in nearly every aspect - from the crisp, passionate choir to the sharp musicianship under Robinson’s guidance and, of course - Wilson’s inviting vocal presence. The main misstep is the choice of James Taylor’s “Shower the People,” which offers nothing particularly special or unique from the original take and leaves a bit lackluster aftertaste. Occasionally, the overall mood is also a bit routine and formulaic. That aside, everything that Lawrence raves about on Worship Soul concerning Wilson’s unique worship leading and vocal characteristics is right on point.

Four stars out of five.

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

Ryan Shaw | Real Love

Administration — Thu, 19 Apr 2012 16:08:03 GMT

Ryan Shaw
Real Love
(Dynotone)

Bu Susan Mutharia

When he started singing in the church choir at the age of 5, Ryan Shaw may not have understood the full potential of the seed he was sowing. The Decatur, Georgia native did not listen to secular music growing up so his influences were all deeply rooted in Gospel. In 1998 when the seed was budding, Shaw joined the cast of Tyler Perry’s stage play ‘I Know I Have Been Changed’. His journey after that is a combination of hard work and divine connections. Now the seed has blossomed into a two-time Grammy nominated singer that can undoubtedly engrave his name next to great soul singers like Raphael Saadiq, Lenny Kravitz, Anthony Hamilton and even Sam Cooke.

In 2008, Ryan Shaw released his debut album This Is Ryan Shaw winning him accolades and earning him a Grammy nomination in the category Best Traditional R&B Vocal Performance for the song “I Am Your Man.” Now after hard work alongside his production team that comprises of producer/musician/songwriter Jimmy Bralower (his credits include Peter Gabriel, Madonna, and Cyndi Lauper among others) and music veteran Johnny Gale (Ronnie Spector), Shaw is releasing his anticipated sophomore album, Real Love.

The twelve-track album explores different faucets of love - from one faucet pours the spiritual kind of love, from the other an emotional kind with personal convictions. They all blend to capture the sultry and energizing voice of Shaw.

The album begins with the track “Real Love,” an up-tempo song that introduces us to his definition of real love. Next is a song with a gospel feel “Karina” with a sound that fits the `70s soul time capsule. The fourth track, “You Don’t Know Nothing About Love,” is one of the most ‘hauntingly beautiful’ songs of the album. Shaw’s voice in this rendition of the Jerry Ragovoy song is chilling. He sings it with enough passion and energy yet never loses his composure. While many artists have covered the Beatles’ song “Yesterday,” Shaw has made it his own and still manages to keep the emotion and memory of the beautiful original. Other soulful numbers with a modern flare are “The Wrong Man” which, as the title suggests, is about loving a woman who is in the arms of the wrong man, and “Gone Gone Gone” in which he expresses regret for not putting a ring on the finger of a woman that was worth keeping.

Somewhere in the last two decades, songs stopped having substance and the lyrics were no longer engaging. The majority of listeners could hear what artists were singing but they could not relate. Now there are artists who are rededicating their art to the essence of music where it is not about how many albums they will sell but about lyrics – the sincere art that can only be sung from living or looking through the eyes of other people. This is Ryan Shaw for you.

Real Love is a good album. You will love his voice, you will love the soul, and you will not be ashamed to pass it along to generations before or after you.

To learn more about the artist visit www.thisisryanshaw.com

Real Love will be available for purchase May 15th, 2012.

By Susan Mutharia
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

Bob Baldwin Presents "Betcha By Golly Wow - The Songs Of Thom Bell"

Administration — Sun, 15 Apr 2012 00:07:37 GMT

Bob Baldwin Speaks On “The Spark of Magic” of Thom Bell

by A. Scott Galloway

Once upon a time, a ubiquitous Bell tolled throughout the land. It was the sound of music at its creamy dreamiest, crooned hearts-on-sleeves by groups with mystical monikers like Stylistics, Delfonics and Spinners. T’was a time when real men feared not to sing of love and romance in phrases like “You Are Everything” and “You’re as Right as Rain.” Their inescapable signals were carried on the wind by the multitudes, massaging the magic in their own inimitable ways. In this time of soul-warming enchantment circa `70, hearts throbbed to the pulses of true love and romance…the symphonic soul soundscapes of Maestro Thomas Randolf Bell.

Bob Baldwin remembers the era well…and pays adoring tribute on his latest set, “Betcha By Golly Wow: The Music of Thom Bell” (on Peak Records via its new affiliation with E-One Music). Consisting of eight new arrangements of Thom Bell classics, two original compositions – one an inspired dedication and the other a coup new collaboration with Bell - and as a cherry on top, the licensing of Will Downing’s heartbreaking rendition of “Break Up to Make Up” which Baldwin arranged for his 1993 CD Love’s the Place to Be (featuring alto saxophonist Gerald Albright), the project is filled with imaginative and constantly surprising turns on music many of us have adored all our lifetimes.

“All these songs were already in my bloodstream,” Baldwin analogizes. “After you hear them over a thousand times there’s no need to study anything. The essence was already in my spirit. All I had to do was tap in.”

Bob was presented with the concept of revisiting Bell’s music over the phone by songwriter/producer/singer/multi-instrumentalist Preston Glass who apprenticed under the master in the `80s contributing to such Bell classics as “You’re All That Matters” for Deniece Williams and “Let Somebody Love You” for Phyllis Hyman. They soon after met at a charitable west coast concert in the park and - with that spirit in the air - made a handshake deal to give it a whirl. Glass called Bell for his blessing then in the ensuing months, melodies travelled back and forth across the coasts through the internet for constant assessment and refinement – striving to retain the essence of the originals but in the freshest of ways…for this music has already been done so definitively by many others over the decades. Jazz masters guitarist Pat Metheny and pianist Ramsey Lewis both recorded lovely renderings of “Betcha By Golly Wow” just last year. Half-stepping was not an option.

“I had tested the waters long ago with The Stylistics’ ‘People Make The World Go `Round,’” Baldwin reveals. “(Saxophonist) Marion Meadows – my Sagittarian brother - and I stumbled on it accidentally when we decided to try it, unrehearsed, for an encore in Asbury Park. We got a great reaction from the crowd, so I cut it on my Cool Breeze disc (1997), only in a slower, smoother groove but with the same harmonic direction. The new version is cleaner – more organic – because I’m much more familiar with it now.” That musical carnal knowledge also applies to the CD opener “I’ll Be Around” on which Baldwin creeps beneath your skin with some serious stealth organ playing.

One of the most thrilling choices as it is the one that is not a love song is “The Rubberband Man,” a hit for The Spinners featuring the late great fire-starter Philippe Wynne. “Just like ‘Bad’ on my A Tribute to Michael Jackson CD, this one is all about the blues,” says Bob. “It was the hardest to convert into an instrumental. I had to take something somewhat ‘corny’ and make it cool. I decided to put a whole `nother vibe on it.” That vibe includes some cornfield jazz pickin’ from smooth jazz stalwart Paul Brown and tasty flute by Ms. Ragan Whiteside with a horn arrangement and hip hop pattern courtesy of Mr. Glass.

Two female vocalists bring loving colors to the table. First is Toni Redd, a vocalist Baldwin describes as, “floating around for years but never getting the break she deserves. Toni just has a passion that I really dig in a vocalist. She’s always being compared to Phyllis Hyman – and she is a fan. With her in mind, I accepted the challenge of re-cutting ‘Betcha By Golly Wow’ in an arrangement inspired by the one Onaje Allan Gumbs created for Norman Connors featuring Phyllis. That’s Bob Franciscini on sax from my early days at GRP Records.” As he does in a couple of other places on the CD, Baldwin elongates key lines, bending the song to his will and taking bold liberties to set his version of this thoroughly beloved classic apart from the pack.

Then there is Vivian Green, the youngest contributor to the project and the only one that didn’t grow up in Philly Soul’s golden early `70s era. For her, Baldwin tried the most contemporary of R&B takes on her behalf, this time of The Delfonics gem “Didn’t I Blow Your Mind (This Time),” a song also once recorded by none other than Aretha Franklin. “Vivian is not only young, she represents the younger generation of artists now coming out of Philly that truly appreciate the history. We cut her vocal right there in her hometown for the authenticity but the vocal arrangement we gave her is totally today.” Listen to the chorus and the fresh new way to say “I love you” in a “La-La…”

That leaves the two brand new original compositions of the project. First is a four-way split between Bell, Baldwin, Glass and Glass’ brother Alan titled “Gonna Be Sweeter” that marks that rarest of rarities in new Thom Bell music – an instrumental at that with a steady drum machine pulse and a reflective Fender Rhodes melody on top. And then there’s “Bell & Creed,” Baldwin’s heartfelt ode to the memory of Bell’s most storied lyricist, Ms. Linda Creed. “There they were,” Baldwin marvels, “a Jewish gal from Philly and a Black guy from Seattle making music in Philly for all those great songs. She had a great touch. I can just read her lyrics for songs… Thom’s coloring around her lyrics was a phenomenal combination. Her life was cut short by breast cancer. I spent some time with her husband, Steve ‘Eppy’ Epstein, shortly after she passed. I went to her house 20 years ago and a flood of memories poured out of him. He passed a few years ago, too, but the stories he shared informed the melody I came up with for this song.”

In an open letter to Thom Bell on the inside packaging of this CD, co-producer Preston Glass states, “A song you and Linda Creed wrote contains the line ‘mere words cannot explain’…and that accurately paraphrases how I feel, when it comes to describing your impact on my career and my life.”

“I could not have done this music without Preston,” Bob concludes. “Ultimately, the music was bigger than both of us. And Thom is such a warm brother – a thoughtful, humble mellow guy. His music is absolutely reflective of the man.”

A. Scott Galloway
Music Editor
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

Esperanza Spalding | Radio Music Society

Administration — Fri, 13 Apr 2012 13:37:52 GMT

Esperanza Spalding
Radio Music Society
(Heads Up International)

by Brent Faulkner

Esperanza Spalding, then relatively unknown to the masses, accomplished a feat previously unaccomplished by any jazz artist in 2011; she won the Grammy award for Best New Artist. Spalding’s victory could be viewed shocking considering she defeated more visible popular artists including Justin Bieber and Drake. While the Grammy could be considered Spalding’s ‘crowning’ achievement, it logically accompanies a rich, captivating biography, highlighted in its entirety on her website (http://www.esperanzaspalding.com).

Spalding’s career is nothing short of miraculous. Influenced by cellist Yo Yo Ma at a young age, she taught herself to play violin. After playing violin in several community orchestras, Spalding began playing the bass expanding her scope from classical to include numerous styles. After obtaining a GED at 15, she attended college on a music scholarship, eventually earning a B.M. from the Berklee College of Music, where she’d eventually be appointed the school’s youngest faculty member (age 20). Eventually, solo albums Junjo, Esperanza, and Chamber Music Society would precede her underdog Grammy win. Building off the momentum of a colorful career, Spalding returns with another fine effort, 2012’s Radio Music Society. Crossing elements of jazz, classical and soul, Radio Music Society is the culmination of Spalding’s musicianship to date.

“Radio Song” opens the effort strongly, featuring Spalding singing neutral syllables in jazz-fashion on “la” (“la, la, la, la…”). As expected, the bass lines are creative, working well in tandem with an exceptional percussive groove to buttress the arrangement. Throughout the colorful opener, the horn orchestrations are delightful, not to mention the vocal production. Spalding sounds nothing short of a pro, delivering nuanced, ‘tongue-in-cheek,’ ‘jazzed-up’ vocals. Spalding keeps great company, featuring jazz vocalist Gretchen Parlato on background vocals, not to mention some incredibly talented supporting musicians in Leo Genovese (piano) and Daniel Blake (saxophone). Much like Spalding sings on the hook, “this song’s the one…”

“Cinnamon Tree” is none too shabby itself, with Jody Redhage contributing a sound cello performance while Spalding and company are in ‘classical’ mode. The tempo is noticeably slower than the opener, contrasting and providing a different ‘flavor.’ After the opening, the track takes on an R&B/soul quality, which suits Spalding as well as anything else. Though less technical than the angularity and quirks that characterize “Radio Song,” “Cinnamon Tree” is another winner. “Crowned & Kiss” finds Spalding being assisted by hip-hop royalty in Q-Tip. Spalding’s horn orchestrations are exceptional with the ultimate effect of the sound best characterized as ‘easygoing.’ Spalding remains polished and refined as both vocalist and songwriter. Highlights of “Crowned and Kissed” include Jeff Galindo’s exceptional trombone solo, as well as the angularity of the vamping section.

“Land of the Free” offers yet another contrast, finding Spalding accompanied solo by the organ of James Weidman. Weidman’s gospel-tinged, bluesy sound proves to be the perfect palette - never overpowering nor under-powering Spalding’s commanding voice. The cut closes in a cliffhanger that sends a clear message about the state of freedom; Spalding fails to finish the statement as she sings, “...in the land of the…” First single “Black Gold” features vocalist Algebra Blesset and guitarist Lionel Loueke. The harmonic progression is soulful with jazz sensibility. As always, the arrangement is superb, featuring solid guitar contributions from Loueke, background singing from the Savannah Children’s Choir, and organ contributions from Raymond Angry. Vocally, Spalding and Blesset blend extremely well, yielding a fine vocal chemistry. As simple as the refrain is, it is incredibly beautiful: “You are black gold, black gold…”

“I Can’t Help It” finds Spalding covering Stevie Wonder with the aid of famed saxophonist Joe Lovano. With a pack of great harmonized background vocalists (again including Parlato), Spalding continues to strike gold. Joe Lovano’s saxophone lines are subtle but tasteful, giving off a ‘cool’ vibe, further accentuated by punches from a Fender Rhodes. “Hold On Me” proceeds, finding Spalding and her combo (Janice Scroggins and Billy Hart) accompanied by the American Music Program. The cut is the first to feature Spalding on acoustic bass. At just over three and a half minutes, “Hold On Me”’s brevity is appreciated, even if it fails to compare to the best cuts like “Radio Song.”

“Vague Suspicions” reignites any lost momentum, opening with a mysterious guitar ostinato provided by Ricardo Vogt. Spalding continues to play acoustic bass, accompanied by legendary jazz drummer Jack DeJohnette. Daniel Black contributes ‘woodwind’ duties doubling on flute and soprano sax. Speaking of soprano sax, the blend between it and trombone is a lovely, well conceived timbre. Vocally, Spalding remains ‘on top.’ “Endangered Species” is even more alluring. Lalah Hathaway is a guest vocalist on this Wayne Shorter/Joseph Vitarelli penned classic. Spalding adds her influence by penning the lyrics and contributing to the arrangement. Leo Genovese opens the cut with a geumbri, a three stringed bass instrument. Spalding returns to electric bass here, delivering more athletic aggressive lines, and Darren Barrett’s muted trumpet solo can’t be left out.

“Let Her” is angular, featuring more creative bass lines from Spalding’s incredibly harmonic imagination. Asymmetric meter adds yet another dimension to the cut, not to mention Leo Genovese’s soloing on Rhodes. The closing cuts are a bit less distinct. “City of Roses” finds Spalding once again accompanied by American Music Program and delivering fast-paced vocals. Thara Memory’s horn orchestrations are a highlight. “Smile Like That” is solid, though not the best of the effort; Gilad Hekeslman’s guitar solo is noteworthy.

Overall, Radio Music Society is a great album, transcending jazz and including elements of classical, soul, and blues. There are no overt misses, though some tracks are more creative than others. Spalding’s musicianship is undeniable. She’s the ‘real deal.’

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

Clarence Milton Bekker | Old Soul

Administration — Wed, 11 Apr 2012 21:44:21 GMT

Clarence Milton Bekker
Old Soul
(Playing for Change/Concord)

by Brent Faulkner

Clarence Milton Bekker (formerly known as CB Milton) is an R&B artist who has endured career highs and notable lows. A native of Suriname, CB grew up in Netherlands loving music from an early age. In the late 1980s, Milton became a member of The Swinging Soul Machine, a band that backed The Trammps. Milton left the band to focus on a solo career. The 1990s yielded three albums beginning with It’s My Loving Thing, with each successive effort proving less notable…even lesser so in the U.S. After his celebrity ‘bottomed,’ CB Milton found himself consumed by the demons of drugs and personal grief. After moving to Spain, Milton began performing on the street, eventually drawing attention to his gritty, soulful voice and becoming part of Playing For Change, a global showcase for street musicians with talent led by producer Mark Johnson. Eventually, upticks would deliver ‘Clarence Milton Bekker,’ who in turn delivers 2012‘s solid soul effort Old Soul, an album predominately consisting of covers. While Bekker never reinvents the wheel on Old Soul, he does deliver sound, enjoyable performances and certainly rises above adversity.

The effort opens with the William Bell classic “Any Other Way” (which appeared on Bell’s 1967 effort, The Soul of Bell). Vocally, Bekker sounds soulful and solid. The accompanying production is solid as well, consisting of big bass line, soul-laden guitar and piano. There is little to quibble about but one does yearn for some additional harmonized background vocals to strengthen the cut. “Yes We Can Can,” the Allen Toussaint classic, fills this void, including background vocals that add grit to the New-Orleans R&B cut. The production is incredibly funky, suiting the raw nature of Bekker perfectly, and the horns contribute even more to the sensationalism. The best part is Bekker’s ending ad libs which allow the vocalist to be more liberated than he was on the opener.

“One More Heartache” (a Marvin Gaye cover from the late `60s penned by a songwriting team including Smokey Robinson and Marvin Tarplin) is tastefully done, including a fine, if somewhat restrained saxophone solo. The vamp at the end is a highlight for Bekker vocally. “I Wish Someone Would Care,” penned by Irma Thomas some years ago, contrasts grooves by switching to a six-feel as opposed to the standard 4/4. High points include Bekker’s consistent vocal grit as well as the harmonized background vocals which add ‘the cherry on top.’ It is not until “Who is He (And What is He to You)” that Bekker delivers a cut that is nothing short of ‘the top echelon.’ The groove of the Stanley McKenney/Bill Withers classic is instantly infectious and the totality of the production is well executed, including subtle strings not far removed from those that grace The Temptations’ classic “Papa Was a Rolling Stone.” “Who is He” has more inherent ‘authenticity’ than some of the earlier cuts.

“Try A Little Tenderness” (the popular Otis Redding song composed by Jimmy Campbell, Reg Connelly and Harry M. Woods) keeps the momentum high. Bekker sounds electrifying tackling Redding’s muscular nuances to perfection. “Try A Little Tenderness” is so effective because it requires a dominant presence such as Bekker’s to ‘pull it off.’ “Everybody Loves a Winner” does not disappoint either, again channeling William Bell, a la 1967. Also co-written by Booker T. Jones, the classic finds Bekker breathing new life into it, contrasting the grinding nature of “Try A Little Tenderness” in favor of a slower, more earnest feel with organ and electric piano. Bekker and his producers are cruising on ‘autopilot’ now.

“Tomorrow’s Dream” finds Bekker tackling Al Green and producer/co-songwriter Willie Mitchell, hearkening back to Green’s 1970 Hi Records effort Green is Blues. The tempo is blazing, contrasting the balladry of “Everybody Loves a Winner” in favor for Memphis soul. “Tomorrow’s Dream” does not quite reach the pinnacle, but is certainly above par. “Can’t Help But Love You,” written by Reggie McBride, is not extremely flashy but effective. The original “Shine On Me” (co-written by Bekker) is a fine contrast to all of the other cuts, serving almost as an anachronism in 2012. This soul cut opens with Bekker’s jazzy vocals foreshadowing that he is going to ‘open up.’ Sure enough, he does, delivering arguably the album’s best vocal. Showcasing well orchestrated horns and a sound guitar solo, “Shine On Me” is a clear winner. The Isaac Hayes/Dave Porter penned “Hold On, I’m Coming” is a great way to close a solid album. The production is updated yet still retro.

Overall, Old Soul is a sound effort. Bekker possesses a brilliant voice - few would argue this point. If there is quibble, it is that at times Bekker plays it too safe. With the pipes and consummate talent Bekker possesses, there need to be more killer cuts like the penultimate “Shine On Me,” or successive electrifying covers such as “Who is He (And What Is He To You),” “Try A Little Tenderness” and “Everybody Love’s A Winner.”

For all of CB Milton’ struggles, Clarence Milton Bekker seems to have atoned and come ‘full circle’ in the capable direction of Old Soul.

(www.clarencemiltonbekker.eu)

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

Incognito | Surreal

Administration — Wed, 11 Apr 2012 21:28:33 GMT

Incognito
Surreal
(Shanachie)

By Peggy Oliver

How does one band with a revolving door of contributors for over three different decades manage to obtain incredible longevity without missing a beat? What has kept Incognito - the multi-cultural, multi-personnel phenomenon that was highly responsible for sparking the eighties’ acid jazz movement - sounding so fresh, remaining so relevant and making it look so effortless? It all lies in the architect of Incognito, Jean-Paul Maunick a.k.a. “Bluey” - the group’s main songwriter and arranger - who refuses to change his musical stripes and feeds off of an indescribable energetic kick from his extended musical family.

Fueled by his inspirations of top American jazz/funk bands like Earth, Wind & Fire and Weather Report, Bluey has surrounded himself with musicians that know how to knock out grooves of all shapes and styles, and lock-in funky yet not overbearing improvisations. The impressive vocal cast includes Maysa Leak (whose jazz and soul mastery is equally compelling), Jocelyn Brown (a veteran of the dance club scene) and pop/soul stylist Carleen Anderson. His long-time collaborators Frances Hylton, Richard Bull, Dominic Oakenfull and Matt Cooper, and a host of former Incognito musicians including trumpeter Chris Botti, know how to make every groove count, whether delivering disco, jazz, funk or soul. The way they anchored those grooves with uplifting lyrics and passionate joy has captivated fans on both sides of the Atlantic. Many DJ’s channeling Incognito’s remix packages unquestionably gravitate to the band’s upbeat, contagious sound. Besides their original material, Incognito’s special touch on cover tunes is just as entertaining, as evidenced by Stevie Wonder’s “Don’t You Worry `Bout a Thing” and EWF’s “That’s The Way of the World.”

Incognito continues to hold strong over thirty years later in the underground jazz/soul market. That groove train anchored by Bluey still rules on their fifteenth disc, Surreal. Once again, Bluey blends a dependable vocal team with the current touring band. Incognito mainstay Maysa leads off with Hylton’s composition “The Less You Know,” her warm voice melting in the steady funk pockets from the brass and rhythms section. Multi-instrumentalist and current male lead vocalist, Mo Brandis, lights up Surreal’s debut single, “Goodbye to Yesterday,” with a suave, tenor voice. The companion video may lack flashy photography and staging, but the radiant spirit between Brandis and the band in the studio is inviting enough to capture the hearts of true groove fans. “This Must Be Love,” where old school and new school connect thanks to Brandis once again in the lead role, is punctuated with pseudo hip-hop drum lines. Vanessa Haynes, who has performed “Don’t Worry `Bout A Thing” in concert with Incognito, provides the power source on this dusty disco groove recorded by Queen Yahna in 1976. Alistair White pumps up the energy further with a tantalizing trombone solo. For a tender, jazzy cool mood, Natalie Williams accommodates nicely with “Restless as We Are” (framed by Cooper’s drizzling electric piano) and the stripped down “The Stars from Here” where the usual upbeat grooves shift to a soft Bossa Nova. The instrumentalists get their fair share of time with two tracks, one being “Rivers on the Sun,” driven by the marching snare and electric piano locking in the rhythm and the brass section etching tight harmonic structures.

Though the aforementioned tracks are the highlights of Surreal, the remaining selections are in no way snoozers. The essence of what makes Surreal tick is Bluey and the other producers’ incredible intuitiveness when breaking down each vocalist’s strengths. Besides, most of the vocal talents on Surreal - already established in the U.K.’s current soul music landscape - are the other reason to enjoy this attractive groove package as only Bluey and Incognito could fully envision. Now that is what I call the ultimate secret of longevity.

Four and three quarter stars out of five.

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

Lalah Hathaway's Starry Starry Homecoming Night in L.A.

Administration — Tue, 10 Apr 2012 15:47:33 GMT

Lalah Hathaway/Eric Roberson
Club Nokia
April 6, 2012

Concert Review by A. Scott Galloway

On a Full Moon Friday in L.A., Lalah Hathaway adorned the night with stars…

Taking the stage in a lovely flowing wrap dress with a plunging neckline dripping in luscious aqua marine, Lalah opened her set with two recent mid-tempo groove tunes that set the mood as casual, comfy and feel-good with “If You Want To” and “Breathe.” This was followed by the ceremonial removal of her “two song shoes” and giving herself over to the more sensual groove of “Small of My Back,” communicating more clearly with subtly bewitching undulations in front of her microphone (like a real singer should) than any fill-in-the-blank pop tart putting themselves through 100 rep calisthenics at 180 BPMs.

A jazzy bass solo of soulful luxuriance led into another Hathaway tradition of exploring the Gershwin standard “Summertime.” While longtime followers might quibble that they have seen her dig into this number more than enough times over the years, it provided a winning improvisational springboard for background singers Jason Morales and Toni Scruggs who took a chorus apiece…and devoured them for dinner.

Thoroughly warmed up, Lalah took over her DJs laptop to share a taste of what Saturday morning around her house is like as she “spun” a few jubilant iPod jukebox oldies, two of which featured the voice of her father, Mr. Donny Hathaway: “Back Together Again” and (most amusingly) “This Christmas.” “I know it’s not Christmas,” she quipped. “Sing anyway!” And her peeps obliged, right on into her next set of romantic cover songs: Anita Baker’s “Angel,” Earth Wind & Fire’s “Love’s Holiday” and the song that her father basically snatched from its composer Leon Russell “A Song For You.” This moment proved puzzling as Lalah repeatedly sang the refrain as “a song to you,” but with every drop of deep-pitted adoring reverence intact if to an ever-so-slightly rushed pulse.

Next was one of the bright spot pleasant surprises of her latest album Where it All Begins with “Wrong Way,” a soft rocker that would not be out of place on a Stevie Nicks album with its gently driving melodicism and soar-on-the-wind chorus. Then she dropped down into debut album soul sister gem “Baby Don’t Cry” (an `Angela Winbush finger-popper) followed by her brand new single, a loving rendition of one of her father’s final recordings, “You Were Meant For Me.” The easy open effortlessness of her delivery on this song totally warms your heart. This writer would only hopes that as Lalah and her band perform this more on the road, they find a deliciously befitting way to bring the song to a heart-stopping ending. One way would be for it to seamlessly melt into the next number, the haunting “I’m Coming Back” another song from her self-titled debut album that Lalah so perfectly embodies that she rerecorded it on her latest CD with even richer depth, using the wide open space as a canvas for soul calling.

Also toward the end were the upbeat and reassuring “Lean On Me,” “We’re All in This Together” (fast becoming adopted as an anthem in memory of Trayvon Martin – available as a Best Buy bonus track if you purchase Where It All Begins from that location) and the Luther Vandross song that – in his earthly absence – Lalah has respectfully made her own, “Forever, For Always, For Love,” which she milked in a languorously seductive turn.

However, the final of several highlights this night came in two songs featuring special guests. First was opening act Eric Roberson joining Lalah for their duet “Dealing” which originates from his 2009 CD, Music Fan First. D.C.-based Roberson - who delivered a tight set of his own highlighted by his hit ballad “Picture Perfect” and balanced by his witty lasciviousness and chivalrous sincerity – proved a symbiotic complement to Hathaway with a voice of masculine vulnerability and a playfully lusty demeanor you could tell was making her heart smile. He came up out of HIS shoes as if to say, “Seriously, how can I be down…y’all turn those cell phone cameras off a minute - I got a wife at home!”

The room was not ready, however, for the encore which started as a cool stroll through Michael Jackson’s “Rock With You” with her musical soul mate Rahsaan Patterson but soon turned into a free for all as, one by one, Lalah invited many of her friends that had been watching from the wings to come out and sing something over the chord changes. Lalah & Rahsaan set the pace by juxtaposing lines from “Human Nature,” “I Wanna Be Where You Are,” “Off the Wall,” “Never Can Say Goodbye” “Girlfriend” and “Thriller” into the mix, sending the crowd over the moon with surprise after surprise. Then Lalah shifted gears and gave it up to Whitney Houston by singing “I Wanna Dance with Somebody Who Loves Me” to which Rahsaan answered with “Thinkin’ About You.” Sheila E, who had already slipped onstage playing congas in the back sauntered upstage with a beer bottle and proceeded to elicit Afro Cuban calls through it (a la Bill Summers on Herbie Hancock & The Headhunters’ “Watermelon Man” circa `73, then added a bit of her own signature smash “The Glamorous Life.” Lalah invited Anita Baker to the stage to join them calling her one of her earliest “low singin’” mentors but Baker politely declined instead insisting that there was no way she could be in the same city as Lalah and not come out to support her. That didn’t stop Kenny Lattimore, Sy Smith and B. Slade (formerly contemporary gospel maverick Tonex) from taking a crack at the mic - an unforgettable finale that all present will never forget.

L.A. has been home for the lady for a couple of decades now and she made quite the homecoming in an evening most accurately described as magical.

A. Scott Galloway
Music Editor
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

L.A.'s RnB Live Club; Serving up "A Night to Remember" Every Wednesday of the Week."

Administration — Fri, 06 Apr 2012 16:15:22 GMT

Amerie Headlines Night of Amazing Amateur Talents at RnB Live”
An Event Evaluation by A. Scott Galloway

There is something to be said for doing something a long time and getting it right. That is the powerful sense I felt last Wednesday night at Greg & Felipe’s weekly “RnB Live Hollywood” residency in North Hollywood at the space known as Romanov Restaurant Lounge (12229 Ventura Blvd.).

To be perfectly honest, I came just to catch up with singing star Amerie. What I got was a seamless thread of back-to-back entertainment on every conceivable level one could hope for with the very best in lighting, sound and decor. I can’t comment on food or cocktails (I sampled neither this night though the comedian clowned the prices as high), but the atmosphere, music, visuals and all-around entertainment factors were consistently pleasurable on an above average level. For somebody who is not a “hang out at the club” kind of person, I am pleased to report that the quality time I spent at RnB Live this night was a pleasant surprise.

Let’s begin with DJ E.R., who masterfully calibrated the mood of the evening with tasteful yet hard-hitting R&B, hip hop from the present back through the `90s (he even slid in some vintage 1973 Quincy Jones with “Summer in the City” – mad props). His segues were smooth, his execution laser precise and when he scratched, it was smoothly rhythmic – never jarring – and a complete compliment to whatever groove he was experimenting with.

Next I must compliment the ladies of the wait staff – all sistas, all lovely and all with sincerely helpful demeanors. Just watching them go about their business was an entertaining eyeful – a gentleman’s compliment in every connotation.

When it was time for the stage show to begin, DJ E.R.’s set seamlessly subsided and we were introduced to the house band The Hollywood Players – a tight sextet of rhythm section and two brass players (keys, guitar, bass, drums, trumpet and trombone, and two background singers), followed by the host of the evening comedian/singer Reign. These guys clearly rehearse and play together on a regular basis (none of that cobbled together sittin’ in stuff) which, to my veteran ears, made for a really tight unit. Even when they were thrown the occasional unplanned curveball, they quickly adapted and rocked the joint within 4 bars or less.

As for Reign, he was a great host, cajoling a typically aloof L.A. crowd into participation by obliterating any barriers between the audience and the performers. Whether lightly chastising a young girl for walking up on stage uninvited to wish her homegirl a happy birthday or making off color cracks about a front and center table of Koreans there to see them some Amerie up close, all of his jokes and the manner in which he delivered them were playful and ultimately affectionate. Nobody was storming away mad on his watch.

The MOST surprising element of the night for me was the consistently high level of the amateur singers. Clearly, when the producers hold auditions, they seriously weed out anybody that could potentially embarrass themselves and/or the club. All 8 of the guest singers (of varying levels of experience and age) were of a caliber that could make semi-finals on any self-respecting television singing competition. They hailed from all over the country and they ALL had soul – even the White girl Mikela from Texas who threw down on Erykah Badu’s “On & On” then ended with a hearty, “Thank you, yall!”

Props to Summer – a belter who sang Alicia Keys’ “I Ain’t Got You” dressed in black and crowned with a big ol’ white church hat with matching bow – Veronica from Houston who in contrast laid out a jazzy Chicago Cabaret kind of take on Alicia’s “Fallin’” - Francois from South Florida (with the pretty smile) who produced equally pretty notes on Beyonce’s “Halo” - and Josh who offered the 1-2 punch of Cee-Lo’s Crazy” and (boldy, for a dude) Beyonce’s “Smash Into You.” Stevie J from Indianapolis did a decent “Luv” by MusiqSoulchild but could stand to open up his emotional floodgates a little more – toward the end he was sounding like just another instrument instead of the singer in front of them.

Two singers thoroughly impressed me and BOTH of them did Rufus featuring Chaka Khan classics. First was pint sized fury Carmen Cameron from Baltimore who sang “Sweet Thing” like she’d been knowing what it was all about since the age of 6 (she also sang Beyonce’s “Nothing But Love”). Then there was Crystal Hayworth who just flat foot SANG the mess out of “Tell Me Something Good.” Y’all should be `bout ready to headline your own damn shows – I’m just sayin’.

White comedian R.J. had the crowd in stitches asking the ladies which voices of ethnic men were sexiest, running through Australian, German, Japanese, Indian, British, etc. with hysterical results. For a finale, he presented Snoop Dogg teaching a kindergarten class its ABC’s (“stick-icky ooo-weee”). This cocky southern White boy is clearly going places.

Finally, after another brief reprise from DJ E.R., headliner Amerie took the stage for two songs with the band. Before she sang a note she had the place trippin’ because she cut most of her hair off, rockin’a short and sassy new look. Once everyone adjusted to that, she set it off with her debut hit “Why Can’t We Fall in Love,” followed by the eternally infectious “1 Thing.” She came out in the crowd and got audience participation from people singing the “Na-na-na-na-na OH” hook, bounding throughout the room with energy to spare. It wasn’t the same as seeing her with all her dancers and sexy stage outfits, but it was clearly a teaser to let you know she is working on a Prelude EP PLUS a new CD soon to come.

In the elevator on the way out, I overheard a guy ask the ladies that accompanied him if they enjoyed Amerie. They said, “She only SANG TWO SONGS which was cool – you didn’t pay for a whole concert – but I REALLY enjoyed everybody else!”

I could not have said it any better myself.

A. Scott Galloway
Music Editor
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

J.J. Hairston & Youthful Praise | After This

Administration — Wed, 04 Apr 2012 17:29:27 GMT

J.J. Hairston & Youthful Praise
After This
(Light/E-One)

By Peggy Oliver

When I first stepped foot in church during the early sixties, my attention focused on the precious, riveting harmonies of the choir. It did not matter if the choir embodied a hymn, spiritual or the Psalms, this part of the weekly church service was my absolute favorite moment. As I started taking my relationship with Christ more seriously, choir ministries took on a slightly different meaning, equivocating more than just some pretty voices that have sheer technical skill. This is where we quickly fast forward to the urban contemporary era which started to evolve in the late sixties with the crossover sensation “Oh Happy Day” by The Edwin Hawkins Singers. From The Hawkins Singers, to John P. Kee & The New Life Community Choir to the left of center R&B/funk fueled Deitrick Haddon & The Voices of Unity, the spirit of “praise and worship” - or what many purists rave on dubbing as “anointed” - was the ultimate key to draw the congregation further into the Lord’s presence.

For all live praise and worship experiences, gospel and church choirs indubitably set the tone - whether handling the spotlight themselves, accompanying the soloist or interacting with their director. Choirs like Voices of Unity, Hezekiah Walker & The Love Fellowship Choir and Donald Lawrence & The Tri-City Singers are some of worship’s more recent movers and shakers that continue to deliver fulfilling live worship platforms. JJ Hairston & Youthful Praise (Y.P.), birthed out of the Cathedral of Praise in Bridgeport, Connecticut, can be added to that list without reservation.

With five recordings since 2001 and several radio-friendly hits (i.e. “Incredible God/Incredible Praise” and “Praise to The Rock”), Y.P. is one of urban contemporary choir’s most consistent ensembles that integrate many in-house soloists with industry veterans. In their seventeen years of ministry, Y.P. can always be counted on to administer praise and worship with fire yet graced with class. Despite the passing in 2010 of Y.P.’s co-director and co-founder Pastor Shawn Brown, the choir continues to carry its legacy under the full guidance of Hairston.

Originally entitled Praise, Thanks & Declaration, the latest project, After This, follows on a solid theme of accelerating hope and faith amidst the trails pertinent to today’s society. Though After This has its share of guests, Y.P. pulls plenty of vocal arsenals. The lively “Lord of All” is an appropriate opener decked out in seventies succulent soulful hooks complete with brass, horns and Latin-sprinkled piano fills. The immense energy shifts to another plane as Y.P.’s Tiffany Andrews Woodside drops effective turns on “My King. “The Victor” and “Grateful,” and the high-stepping traditional church praise of “Reap” showcases the vocal depth and breadth of Melissa Bell, Minion Bolton and Jennifer Johnson respectively, as they generate timely power and restraint. It can be risky balancing numerous leads, but Hairston’s arrangement of Eddie James’ “I Am” utilizes Woodrow Vereen, Sam Walker, Stephon Hawkins and Marc Britt’s impeccable vocal layering to elaborate upon the song's sheer elegance.

There are still plenty of guests on hand whose vocal presences are just as satisfactory. Bishop Eric McDaniels leads the worship stratosphere on the infectious title track, giving glory right where it belongs: “There will be glory after this / There will be victory after this.” The pop-flavored “Love Like This” is fully enhanced by Tye Tribbett’s usual sizzling personality, sparking his sometimes vulnerable tenor harmonies that compliment Hairston’s baritone. LaShun Pace’s vocal confidence is always assured as she pulls out all the bluesy punches for “The Blood.”

After This was recorded at First Cathedral Church in Bloomfield, Connecticut, where Hairston served as minister of music. For the most part, Hairston, Y.P. and friends connect all the spiritual dots. If there are minor quibbles, the last two tracks fade out while the song is still far from over, always a downer when it comes to the live praise and worship experience. Otherwise, After This further elevates Hairston & Y.P.'s excellence for urban contemporary choirs in this generation.

Four and three-quarter stars out of five.

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

Carmen Lundy | Changes

Administration — Sat, 31 Mar 2012 13:51:02 GMT

Carmen Lundy
Changes
(Afrasia)

A Record Reflection by A. Scott Galloway

Singer/Songwriter Carmen Lundy’s twelfth album, Changes, is the kind of jazz vocal album that does more than entertain. It enhances your very existence. This is music that soothes your being, uplifts your spirit and quiets your mind – music you can use. It has a very strong Afrocentric foundation and an overflowing of warm musical sunshine to light your way. Ms. Lundy composed 8 of the 9 numbers herself, making for an album truly classifiable as “one from the heart.”

The CD opens with two tranquil scene setters “The Night is Young (Naya Song)”
(co-composed with Julie Raynor and featuring subtly lovely strings) and “So Beautiful” (featuring a commanding electric piano turn from Anthony Wonsey – the first of many - and a melodic yet meaty introduction by inventive drummer Jamison Ross – new on the scene and one to watch). Next is the first of two mighty message tunes, “Love Thy Neighbor” – a live and let live missive featuring the added bonus of a tight horn section. “I’m your sister in the global family,” Carmen sings invitingly as the rhythm section and horns lift the song to higher and higher heights. Later in the album Ms. Lundy returns to this invigorating vibe of uplift with “Dance the Dance,” the CD’s longest track that opens up for some deep improvisation and interplay between Lundy and her gentlemen.

The project’s one standard, “A Nightingale Sang in Berkeley Square,” is buoyed by a floating reharmonization and some wonderfully evocative playing from the trio. The loveliness turns bittersweet with the ballad “Sleeping Alone” followed by the waltz-timed “Too Late For Love” on which she also plays harp and trades lines with trumpeter Nolan Shaheed. The light straight ahead groove of “To Be Loved By You” leads smoothly into the meditative closer “Where Love Surrounds Us,” sung solely to the guitar accompaniment of Brazilian legend Oscar Castro-Neves.

In addition to her singing and writing artistry, Ms. Lundy also shows her visual artistry with a personalized rendering of the sun on the album cover – a piece she calls “Now Tomorrow Yesterday Forever.” Describing it in her EPK she states, “It’s the sun that’s inside of us that glows through our eyes.” The metaphorical musical sun of Carmen Lundy’s soul on Changes is warm and wonderful.

by A. Scott Galloway
(Music Editor – 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

Greg Adams | East Bay Soul 2.0

Administration — Mon, 26 Mar 2012 03:50:40 GMT

Greg Adams
East Bay Soul 2.0
(Greg Adams Music)

By George Strand

While much of today's contemporary/smooth jazz music is dominated by certain brass and wind instruments [sax, flute, trombone (Shorty), etc.], we as aficionados in appreciation of the art should never squeeze out the space still made available for the grace of the trumpet - a very powerful horn in the brass family. Perhaps a good dose of the sound of the trumpet and Flugelhorn from Greg Adams, founding/long-time member of hit R&B band Tower of Power might do the trick. Mr. Adams delivers another touch of the funk and soul in East Bay Soul 2.0, an excellent collection of compositions ever-so-reminiscent of the enormous participation he has consistently produced on over 500 recordings to date.

Adams is joined by such stellar musicians as Michael Paulo, Dwayne "Smitty" Smith, Joey Navarro, Herman Matthews, Lee Thornburg, Darryl Walker and others. It appeared to me that Mr. Adams quite possibly may have developed his OWN 'Tower of Power' ensemble while discovering the many talents of the session players he enlisted - not to mention that Greg had his hand in composing on 9 of the 10 tracks.

The lead track "The Getaway" pitches a high density, funk flavored, head-noddin', old school experience only players from the '70's/'80's may relate to. Hopefully our generation of today will grasp the overall exuberance that this single intended for them to do - that is to GROOVE. Darryl Walker's opening lead vocal to "The Love of My Life" extends the value of how soft and delicate a heartwarming slow ballad can be to the listener. The high quality of the lyrics receives an early PLUS grade. No booty call music here, folks - just a plain and simple, solid slow jam with real meaning.

The mid-tempo delight "To Catch A Thief," showcasing Greg Adams on the Flugelhorn, is dynamic. That its inspiration drawn from a 1954 Alfred Hitchcock movie of the same name is quite interesting, to say the least. The 'horn section' stood out in "Back To Oakland" while "Brassalicious" spoke out for itself. Take a listen. We are talking about a performance from his group of horn players you will not believe. "What's Goin' On" - the classic Marvin Gaye treasure - was re-touched by the group. It's not as polished as I hoped for it to be but there is more than enough effort and continuity shared by the group to keep the track interesting.

I enjoyed the listen of East Bay Soul 2.0 but what truly intrigued me is how the project came about. The recording was funded by Greg's fan-base - 100% of it...very impressive. And in return, I don't believe Mr. Adams disappointed his jazzy friends. Staying true to his roots, the CD kept a good balance of engaging, impassioned melodies and a supreme mix of the power of the brass instrument in full rotation. Whenever you get a project like this that maximizes the overall connection and the high spirited interaction of a full-scale band, you better believe something is going to go down. Greg made sure of it.

I give him props and lay out 4+ stars out of 5.

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

Andrea Helms | Moving Forward

Administration — Sat, 24 Mar 2012 10:24:59 GMT

Andrea Helms
Moving Forward (EP)
(Music World Music)

Review by Peggy Oliver

When it comes to all those TV talent competitions where the winner is judged by America, being a runner-up, third placed or even lower does not constitute a death sentence in one’s career future. Most persons are aware by now that countless “American Idol” non-winners have carved prolific, if not at least steady, recording and concert platforms (i.e. Jennifer Hudson, Elliott Yamin). Representing the show “Sunday Best” - the gospel alternative to “Idol” - praise and worship leader Andrea Helms (the runner-up for Season Four to jazz/gospel stylist Amber Bullock) recently signed with Music World Music. The same applies to the fireball traditional vocalist from Season Three, Elder Goldwire Mclendon, who will be releasing his debut EP in April 2012. In an intriguing marketing strategy, Mclendon’s and Helms’ projects focus on all their “Sunday Best” performances, guided by top-of-the-line gospel producers.

Before hitting the “Sunday Best” stage, Helms always dreamed of fulfilling a career as an artist, citing Whitney Houston and Tramaine Hawkins as two of her main vocal role models. Her initial calling was in worship ministry after graduating from high school in 1992; serving alongside her father who was the Senior Pastor of an interracial congregation in Denton, Texas. With all the blessings bestowed upon her, Helms and her life challenges supposedly started at birth as doctors were predicting she would be a vegetable at best. Though she beat those odds, the battlefield caught up with Helms as she dealt with postpartum depression, which disrupted raising her young son for a short time. Naturally, she claims her health issues as her lifelong testimony and a teaching tool for those that are facing adversity.

With all that said, the EP Moving Forward is a more than appropriate introduction for Helms to the gospel music industry.

“The Heavens Are Telling (A Mighty God We Serve)” perfectly suits Helms’ strong gifts as a music ministry leader. The Donald Lawrence piece starts with a quiet spirit with organ accompaniment, eventually leading into Helm’s soprano and the choir’s explosive yet never over the top worship presence.

The popular southern gospel song, “Yesterday,” composed by legendary quartet vocalist George Yonce, was recently recorded by Mary Mary in a pseudo big band arrangement. In this version, Helms injects more of a gospel blues touch and delivers a solid performance despite the thin, auto tuned-enhanced background vocal arrangement.

Martha Munizzi’s signature song, “Because of Who You Are,” starts with promise. Unfortunately, Helms plays it too safe on most counts and the orchestration eventually loses its luster with way too much filler toward the end.

The title track re-teams Andrea with Amber Bullock in this Ricardo Sanchez piece that floats on a jazzy/gospel cushion. Despite their distinctive vocal textures, the duet purely connects on a technical and worship level.

“Encourage Yourself,” the Donald Lawrence & Tri-City Singers classic originally sung by Sheri Jones-Moffett, is yet another brilliant, motivating performance by Helms whose adlib abilities are equally compelling.

Plain and simple, Helms transforms Walter Hawkins’ “Changed” into her own personal unapologetic testimony of God’s mercy, deliverance and restoration.

Helms clearly identifies as being a straight-ahead worshipper as demonstrated on “I Love The Lord.” Though it might not be in the same ball park as Whitney Houston’s version of this Richard Smallwood composition from the movie “The Preacher’s Wife,” Helms’ interpretation is still credible.

In retrospect to all of the “Sunday Best” contestants’ recording bows – even Crystal Aikin’s and Jessica Reedy’s - Moving Forward stands out as the best of the bunch. This is due to producer H. “Doobie” Powell’s sensitivity to Helms’ vocal personality and strengths by utilizing organic orchestrations and a full choir on most tracks instead of resorting to the fast-food all-synthesized route. Sans the few minor dents (mostly with “Because of Who You Are”) Moving Forward proves Helms is moving solidly forward in the next chapter of ministry with flying colors and can never be deemed as just another runner-up.

Four out of five stars.

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

Ruben Studdard | Letters from Birmingham

Administration — Tue, 13 Mar 2012 16:56:30 GMT

Ruben Studdard
Letters from Birmingham
(Shanachie)

By Peggy Oliver

Who might have thought that Martin Luther King, Jr.’s passionate open “Letter from a Birmingham Jail” would have generated a title for an R&B-fueled concept album? While Ruben Studdard was planning his next recording project, a thought dawned on him during a trip to Atlanta as he observed a display of King, Jr. It just happened to be that Studdard was more than well acquainted with the celebrated civil rights leader’s reflections of racial segregation while being held in a jail cell, considering the former “American Idol” winner is Birmingham born and raised.

Needless to say, the concept for Studdard’s latest release, Letters from Birmingham, is a far cry from King, Jr.’s original text. In this case, Studdard and longtime collaborator Harold Lilly conceived the idea of a twenty-first century contemporary urban soundtrack consisting of various love letters detailing the emotions behind dating, marriage and divorce; based upon the recent crossroads Studdard arrived at in his personal life. With four projects under his belt since his “Idol” triumph, and persevering through harsh critiques and industry pressure, Studdard relishes the opportunity within Letters from Birmingham to finally exercise full creative license, including choosing the songwriters that can best express his musical storylines.

The strongest asset on Letters from Birmingham is Studdard’s velvety, expressive voice, which is convincingly poignant, playful and powerful. This Shanachie Entertainment release opens with a roar with two sexually charged tracks: “Turn U Out,” showing off Studdard’s gritty blues edge topped off with a tantalizing live horn funk blast, and “Wear Me,” feeding off the ‘Price is Right’-like hooks while firing off humorous darts: “Wear me like Gucci.” Two particular tracks echo Studdard’s respect for eighties R&B. “Love Skies” illustrates the pure excitement of meeting someone special with a personalized weather forecast: “A break from the rainy days.” Studdard takes several liberties on Bobby Brown’s 1988 R&B smash, “Rock Wit’cha,” by increasing the steamy factor with a much slower pace and adding a female voice in K Michelle – all with exceptional effect. In another duet, Chrisette Michele and Studdard’s voices are perfectly synched throughout the bass bumping, “Do It Right,” a lesson on the temptation of heeding to that one night stand too early. The atmospheric, reflective “Today (Hallelujah)” signifies the moment after the wedding vows are taken: “It was worth everything.” At the other extreme, desperation builds on “What’s The Reason,” with plenty of concern as to why the marriage is starting to crumble. Finally, “June 28th (I’m Single)” lends itself to a dramatic transition; from the attempts to keep the marriage together to the realization that it is time to move on: “So if you see me on the street/Don’t be afraid to speak.”

Though the concepts behind Letters from Birmingham register fairly well, there are a couple of stumbling blocks. The main offender is Studdard’s choice of “Pure Imagination” from the 1971 musical film “Willy Wonka & The Chocolate Factory,” where the original lyrics exploring a child’s wide-eyed imagination are transformed into an awkward love fantasy scenario. The other issue lies in the paper-thin synthesized orchestrations on several tracks. Despite those pitfalls, Letters from Birmingham reveals Studdard’s continued drive to mature in his artistry and as a classy R&B/soul stylist.

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

Paul Brown | The Funky Joint

Administration — Sat, 10 Mar 2012 17:46:05 GMT

Paul Brown
The Funky Joint
(Woodward Avenue)

Review by George Strand

Year in - Year out, Contemporary Jazz Guitarist/Producer Paul Brown continues to beat the pavement, regardless of how many sour apples taint the overall smooth jazz market. Regardless to the lack of radio station vibes towards the genre and regardless of the massive drop in record sales. The gentleman of the smooth jazz flow breaks out his passion for the groove with the release of "The Funky Joint".

Paul is joined by hip session players Jeff Carruthers (keys/wah wah/bass/drums - 'what instrument does he NOT play?') - Roberto Vally & Bryant Siono (basses), Charles Streeter, Marco Basci, Ricky Lawson & m.b. Gordy (drums), Victor Cisneros (sax) Marc Antoine & Tommy Kay (nylon guitars), and special guests that include saxophonist Euge Groove.

In regard to Mr. Brown's taste for the groove, the CD opens up with a direct hit to it. "The Funky Joint" lays out a straight punch to the groove line and from there it doesn't stop. Saxophonist Boney James dances around the melody of "As Clear As Day" while "Montreux" displays the soft agility of Paul Brown's touch on the guitar strings. The musical flow comes off as smooth as whipped cream.

Other highlights to listen for are the special touch of the background vocals that Dax Reynosa lend to the R&B sound of "Love Don't Come EZ" (on which Paul also showcases his singing); pianist Jonathan Fritzen crafts a special addition to "Tuff Times"; and "Ya Dig," featuring sax man Darren Rahn, is indeed the more edgier, funkier candy bar of the entire CD - easily one of my favorites.

"Backstage Pass" featuring piano great Bob James and the production prowess of gifted keyboardist Bob Baldwin is also a special feature that should be noted.

This 10-track Paul Brown package is one of the smoothest releases of his entire discography - fresh and appealing with no flaws. Whether or not mainstream radio will carry any of his tracks out for rotation should be of no concern. If you still have a penchant for great, laid back easy listening jazz music with a little edge to it, grab this one. The Funky Joint is an absolute winner.

I give it 4+ out of 5.

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

Robert Glasper Experiment | Black Radio

Administration — Tue, 28 Feb 2012 16:59:51 GMT

Robert Glasper Experiment | Black Radio
By Peggy Oliver

What makes jazz musicians so appreciated are their extraordinary musical moves and how they incorporate their vigorous passions in other genres into their own distinct musical personality. Robert Glasper was influenced by a jazz/blues singer in his mother, Kim Yvette Glasper. But Glasper certainly was destined to become more than the standard jazz stylist. The Houston, Texas native knew no boundaries when it came to displaying his piano prowess - for instance playing regularly in three different church denominations. There were plenty of other heroes in his life that informed him from childhood to college. Some were those who broke the mold when it came to the modern jazz movement: Herbie Hancock and Keith Jarrett. On the other extreme, Glasper’s heart deeply beats hip-hop, soul and R&B.

Through his subtle yet complex fills, runs and improvisations, Glasper has managed to weave his brand of acoustic jazz with plenty of Hancock’s picturesque compositions and Jarrett’s free-form attitude with occasional exclamations of pop (Radiohead’s “Everything In Its Right Place” and “All I Need”), soul (“I Remember”) and hip-hop brushes (“J Dillalude”) and gospel ("Y'outta Praise Him”). Between the modern jazz world with Christian McBride and Terrence Blanchard and hip-hop/R&B with Kanye West and Mos Def, Glasper endured his share of some befuddled critics and jazz enthusiasts. He also shared an inclination for soul; nourished from his association with Maxwell to one of Glasper’s college classmates, vocalist Bilal, whose undeniable chemistry matured into a prolonged professional relationship.

Glasper eventually stepped into the solo artist realm with his working trio on the independently released, Mood. The progressive jazz label Blue Note zoned in on this multi-faceted pianist, signing him in 2005. The Blue Note debut Canvas, the sophomore disc, In My Element, where Glasper pays tribute to his late mother and the third release, Double Booked, introducing Glasper’s new quartet entitled The Robert Glasper Experiment; demonstrated the pianist’s affection for jazz while occasionally quoting lines from other genres and subtleties of hip-hop, R&B and gospel sensibility.

The Experiment now gets full booking for Glasper’s latest Blue Note release, Black Radio. The title is very suitable considering the talent Glasper invited to the table. “Lift Off/Mic Check” where hip-hop, free form jazz, R&B and the spoken word by Shafiq Husayn collide, properly introduces The Experiment’s mission: “An experimentation for meditation.” “Afro Blue” is one of the jazz’s first standards exploring African cross-rhythms. The Mongo Santamaria music with lyrics by Oscar Brown Jr. (the lyricist for Max Roach’s classic Freedom Now Suite) has been performed from Dianne Reeves to Liz Wright. Erykah Badu takes the microphone honors anchored by drummer Chris Dave’s deep funk pockets and Casey Benjamin’s flute playing. Lupe Fiasco stretches his MC skills with a dissertation on leaving a memorable legacy on “Always Shine:” “Vicariously in every rap I speak with/ I hope you’re speakin’ for me/If I’m ever speechless.” “Gonna’ Be Alright (FT” features the always riveting soulful kick of Ledisi. The song’s climax veers off in a slightly offbeat direction from the positive lyrics into a brief on-point discussion about musicians being pigeonholed and wondering if the bar has not been set high enough in the current music scene. Glasper revisits “Why Do We Try” by Mint Condition (from E-Life) in a dubstep style, accented by the soaring voice of the band’s lead Stokley Williams. Mos Def throws down some rapid-fire rap and nice soul crooning for the title track. Of course, Bilal enters the spotlight with his warm jazzy perspective of David Bowie’s “Letter to Hermoine.”

Glasper occasionally detours on Black Radio into other musical points of interest such as Nirvana’s signature, “Smells Like Teen Spirit,” where Benjamin’s vocoder adds a harsh yet fitting texture to Kurt Cobain’s already contradictory, angst lyrics in another light.

Black Radio is truly a satisfying labor of love for Glasper who successfully amplifies his passion for jazz, soul and hip-hop. Those aforementioned who participated on Black Radio plus the talents of Lalah Hathaway, Musiq Soulchild & Chrisette Michelle, Meshell Ndegeocello and King are equally first-rate, expanding Glasper’s musical vision in a very coherent and compelling way. Four and three-quarter stars out of five.

By Peggy Oliver
The Urban Music Scene

Rhythm Will Be Queen at The 34th Annual Playboy Jazz Festival

Administration — Mon, 20 Feb 2012 15:50:09 GMT

by A. Scott Galloway

Music Editor
The Urban Music Scene

It was a beautiful sunny afternoon – crystal clear following a night of heavy winds – as host Bill Cosby and producer Darlene Chan announced this year’s exciting lineup of The 34th Annual Playboy Jazz Festival. The festival returns to Father’s Day weekend – Saturday June 16 (3pm-11pm) and Sunday June 17 (3pm-10:30pm) at the Hollywood Bowl in Los Angeles. As always, the cultural and musical diversity of the collective likens it more as The Playboy World Music Extravaganza.

For this writer, the group I am most anticipating is Spectrum Road – a jazz-rock power quartet assembled to pay homage to the late, great drummer Tony Williams and his pioneering band The Tony Williams Lifetime. This group, which has been performing primarily in Europe, consists of leader/bassist/singer Jack Bruce (best known as a founding member of the rock legends Cream), drummer Cindy Blackman (a vastly accomplished player in straight ahead jazz who was also once the drummer for Lenny Kravitz), guitarist Vernon Reid (leader of the Black Rock band Living Colour) and organist John Medeski (of contemporary jazz torchbearers Medeski, Martin & Wood). This promises to be an electrifying performance.

Another female drummer will be presenting a memorable ensemble. Terri Lyne Carrington will lead a multi-cultural all-female group that will bring to life her latest album, The Mosaic Project, which just triumphantly won a Grammy Award for Best Jazz Vocal Album. For this festival performance, Carrington will be joined by vocalists Gretchen Parlato and Carmen Lundy, alto saxophonist Tia Fuller, trumpeter Ingrid Jensen, pianist Helen Sung, guitarist Linda Taylor and bassist Mimi Jones.

Jazz and piano legend Ramsey Lewis will be bringing his Ramsey Lewis Electric Band to perform numbers from his most outstanding recent album Taking Another Look, which features him revisiting his `70s high-watermark of Fender Rhodes-driven funk and soul, highlighted by several numbers from his 1974 classic Sun Goddess as well as electric versions of recent acoustic compositions.

The Cookers will represent mainstream jazz with a once in a lifetime assembly of veterans consisting of trumpeters Eddie Henderson and David Weiss, saxophonists Billy Harper and Craig Handy, pianist George Cables, bassist Cecil McBee and drummer Billy Hart.

Bassist Christian McBride brings his recent Grammy-awardees the Christian McBride Big Band to the proceedings. And Bill Cosby will once again lead his hand-picked ensemble The Cos of Good Music with a set that will include singular takes on Ray Noble’s “Cherokee’ and John Coltrane’s “The Last Blues.”

Among the most compelling performances of the weekend will be those by artists from other corners of the world. They include energetic 8-piece ensemble Chico Trujillo from Chile’, Afro-Pop singer KG Omulo from Kenya, and an ensemble of young lions that Quincy Jones has dubbed Global Gumbo, featuring bassist/vocalist Richard Bona, guitarist/vocalist Lionel Loueke, drummer Francisco Mela and pianist Alfredo Rofriguez.

New Orleans will be represented at its most traditional with the legendary Preservation Hall Jazz Band and the Soul Rebels Brass Band with its infusion of R&B and Hip Hop (featuring original Meters members Leo Nocentelli and Zigaboo Modeliste, along with Ivan Neville of Dumpstaphunk).

Finally, an eclectic variety of pop music will be on tap – from the modern blues of Keb Mo’ to the Latin Funk of Sheila E, (leading a special group comprised of musicians from five of her existing groups), the touchstone soul of Sharon Jones & The Dap Kings to the chart topping blue-eyed soul of Robin Thicke, from smooth jazz sax star Boney James to L.A.-based festival favorites multi-culti upstarts Ozomatli (closing out Saturday night in their 10th anniversary).

As is tradition, each day’s concerts will begin with the playing of scholastic bands: The LAUSD Beyond the Bell All City Jazz Band (conducted by Tony White and J.B. Dyas) and the Calabasas High School Jazz Band (under the direction of Joshua Barroll).

(A. Scott Galloway has attended 30 of the 34 Playboy Jazz Festivals. For this special career anniversary, Mr. Galloway will be covering this year’s concerts in his extensive in-depth style within The Urban Music Scene for the first time.)

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

Najee | The Smooth Side Of Soul

Administration — Thu, 26 Jan 2012 02:28:39 GMT

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

Administration — Fri, 20 Jan 2012 01:01:11 GMT

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

Administration — Wed, 11 Jan 2012 16:08:12 GMT

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

Administration — Mon, 19 Dec 2011 22:52:09 GMT

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

Administration — Tue, 13 Dec 2011 16:42:25 GMT

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)

Administration — Wed, 07 Dec 2011 02:00:11 GMT

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

Administration — Mon, 05 Dec 2011 22:46:20 GMT

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

Administration — Sat, 26 Nov 2011 18:10:18 GMT

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