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HOWARD HEWETT The Groove It’s difficult to fathom why Howard Hewett isn’t mentioned in the same breath as Vandross, Osborne, Gaye, heck, even Williams (Lenny) as a must-listen and influence with today’s young artists. Possessed with an astoundingly clear yet powerful voice, Hewett insinuates a blend of good old R&B with a soupcon of gospel in every adventure, or shall I say song. |
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For example, “I Wanna Know” begins slowly, like a good urban song should. Then Hewett raises the passion with a mere flick of his voice; his wiry tension culminating in a well-delivered masterpiece. |
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RICK JAMES Stone City Rick James had a reputation as a naughty boy who never stopped trying to peek under a girl’s skirt. Deeper Still, with more polish, presents a grown man ready to accept his place and settle into more relaxed environs. The relentlessness of 1981’s Street Songs has ripened. For instance, “Taste,” a map of his musical career , has these revealing lines: “Had it all, baby/done it all…seen it all/I still see/It’s all about love”; a fitting epitaph to a sizzling life/career. |
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| But James did not lose his considerable funk. “Stroke” has a solid backbeat, while “Not Alone” contains a nasty, propulsive bass line. But “Do You Wanna,” “Secrets” and “Sapphire” needed more thought to fill out. James’ voice, though, is full-bodied, still able to emote with authority, and that alone is worth the investment. Choice Cuts: “Maybe,” “Deeper Still,” “Funk Wit Me” and Guinnevere,” written by old band-mate David Crosby. |
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GLADYS KNIGHT & THE PIPS Buddah/Legacy A delectable Pandora’s Box was opened with the corporate marriage of Sony Music and BMG Music several years ago. One of the benefits was the re-uniting of Gladys and the Pips’ Buddah Records catalogue, their home label after an acrimonious split from Motown Records in the early ‘70s. |
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| The collection is a crafty blend of those two catalogues, including Columbia Records, their next stop after Buddah, and their Motown heyday. A huge omission is “You’re Number One,” one of the group’s most emotional performances ever. Knight, although revered in R&B/soul circles, still is not mentioned with last century’s pop giants such as Barbra Streisand, Aretha Franklin, Chaka Khan, Judy Garland and others; another omission that may never be corrected, but she still is felt in many hearts. Choice Cuts: “Save the Overtime (For Me),” “Heard It through the Grapevine,” “The Way We Were/Try to Remember” and “Midnight Train to Georgia” |
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DENISE WILLIAMS Shanachie ‘70s soul chanteuse Deniece Williams returns to the pop scene after nearly a decade singing gospel and being comfortable as a stay-at-home mom “Love, Niecy Style” focuses on music of her contemporaries, a refreshing slant. Stevie Wonder’s “If You Really Love Me,” Earth, Wind & Fire’s “Love’s Holiday,” Donny Hathaway’s “Someday We’ll All Be Free” and Luther Vandross’ first hit, “Never Too Much” get classy re-makes. |
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| However, one song choice seems odd: George Benson’s “Lady Love Me” is more suited to be sung by a man, despite Williams’ subtle gender changes, lyrically. On the bright: “That’s How Heartbreaks Are Made” features Stevie Wonder. Written in the early ‘60s Williams’ rendition proves that she has the ability to raise a song to otherworldly levels. One new cut, The Only Thing Missing,” complements “Cause You Love Me Baby,” a gem from her first album. Choice Cuts: All |
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Past Perfect: I called the label (MCA at the time, now Geffen). Long story short: the focus was on Alt rockers Blink 182. And, the urban staff was in transition, the kiss of death for any artist (“American Idol’s Randy Jackson would soon exit). A masterpiece was lost. I will go so far as to say, get off the computer and dig into your favorite used CD store’s crates for “Love in Stereo.” You’ve missed out too long already, all due to a label’s inability to have its priorities straight. |
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George Duke Most music aficionados recognize George Duke through his work with Stanley Clarke (“Sweet Baby,” resurrected here solely on piano). With a legacy that ranks with the very best, Duke is highly qualified to interpret just about any form of music. This offering is rich with simply mellow jazz, and painted to fill his personality/outlook into a well-though-out shape. |
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The Duke Ellington-penned title cut kicks off 11 compositions, some instrumental (“Never Will I Marry,” “Spring is Here,” “Quiet Fire,” “Just Because” and the exquisite “I Loves You Porgy”). If there is any weakness, it’s as a vocalist. Duke breathes his own interpretations, but they’re fairly standard, and nothing one won’t find interpreted better by any number of well-qualified vocalists. This is not a slam, and he certainly does not deter a pleasurable experience from beginning to end, especially with an all-star line up to back him. Strong Songs: All |
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George Benson & Al Jarreau George Benson and Al Jarreau: What a natural billing, one would think. However, we get retreads of songs best left to their original state. Worse, what should have been the coronation of two spectacular careers comes off more as a manipulative marketing ploy |
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For example, attaching lyrics to Benson’s classic “Breezin’” falls flat; Jarreau’s 1983 “Morning,” minus the lyrics, reduces it to Smooth Jazz status. Worse, “Every Time You Go Away” and “Summer Breeze” lack spark or ingenuity. On the upside, an impromptu studio jam with Paul McCartney on Sam Cooke’s “Bring It on Home to Me” is a rousing success, as is Jill Scott’s cameo on “God Bless the Child.” And the under-rated Patti Austin shines on “Let It Rain,” while “Givin’ It Up for Love” has an infectiously rollicking quality. Overall, one is left with the feeling that genuine electricity missed an opportunity to strike hard. Strong Songs: “God Bless the Child,” “Let It Rain,” “Four” |
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Van Hunt Pity poor Van Hunt. Here is an artist who would have blossomed, say, 20 years ago. He might have been hailed as a visionary blend of funk, rock, R&B; a punk with attitude. Beaten to the punch by the likes of Prince, his most direct influence, Hunt nonetheless, merits our attention principally because he is now flying in the face of convention. ” |
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Sounds like Prince, eh? Facing the daunting task of butting heads with glossy R&B/pop and hip-hop acts, Hunt’s unconventionality works both with him and against him. First, Hunt’s take on love and its misadventures breaks the “verse-chorus-verse” pop mold. He layers songs with rich characterizations, detailing rather than hinting at a direction over quirky rhythms and tonalities. If that’s your cup of tea, and your musical tastes veer beyond straight R&B/hip-hop, Hunt’s adventurousness will prove to be refreshing. Strong Songs: “Character,” “At the End of a Slow Dance,” “Hole in My Heart. |
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Floetry Floetry—Floacist Natalie Stewart and Songstress Marsha Ambrosia—fits like a hand in glove both lyrically and musically. Tagged as “neo-soul” artists, Floetry harkens back to the days of Nikki Giovanni, the Last Poets and Gil Scott Heron; free flowing lyrics heavy on relationship vibes, captivating music and a marriage of song and rap that is seamless in its presentation. |
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Their brilliant third album refines the above statement from jump. Ambrosia, the writer of “Butterflies,” Michael Jackson’s last mega-hit, has a knack for compelling lyrics that always avoid falling into triteness. And Stewart balances the compositions with insightful raps that complement the whole. The opener, “Blessed 2 Have,” is an infectious introduction to and an encapsulation of, their overt sensuality. Rapper Common joins on “Supastar,” the first single release, about a love deservedly placed on a pedestal, followed by hot producer Scott Storch’s “My Apology.” Strong Songs: All. |
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India.Arie Upon first listen to any of India.Arie’s three albums, one may be struck by a “happy-face” approach, and then dismiss it as yet another “folkie black girl” with a guitar. (Read: Tracy Chapman). Don’t make that mistake with Arie, one of the more emotionally textured songwriters out—black, white, male or female. |
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Arie explores areas that cover appearances (“I Am Not My Hair”), history (hidden track # 16 “This Too Shall Pass”), and relationships (The Eagles’ “The Heart of the Matter”). Soft, feathery vocals, sensual strings, arresting acoustic guitar and overall production (Shannon Sanders, Mark Batson and Arie are the main producers) make this an eminently listenable and enjoyable project. How refreshing it is to hear/see an artist not focused on shaking booty, AK spray-downs and the like. Indeed, Arie has outdistanced compatriot Alicia Keys (who came out at the same time) in terms of development into a well-rounded artist. Strong Songs: All. |
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Method Man Method Man is one of the last truly street rappers/reporters. As rap goes through yet another evolution into who knows what’s next, Method clings to tried and true formulas in this 20-cut feast, and comes out a solid winner. |
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Hard not to, what with a top-heavy list of superstar producers and artists that include Scott Storch (“Is It Me”), Eric Sermon (“Dirty Mef”), members of Wu-Tang Clan (Method’s original supergroup) that include Raekwon and RZA (“Presidential MC”), the late Ol’ Dirty Bastard (“Dirty Mef”), and more. Method relies on spare tracks, all the better to slam when he allows the music and his (under-rated) flow to truly unfold. Check “Problem,” an incendiary cut that, in one swipe, fleshes Method’s life mission: if you want a beef, peace or just to get down, he’s all for that. Strong Songs: “Say,” f/Lauryn Hill, “Let’s Ride” f/Ginuwine, “Ya Meen” f/Fat Joe. |
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