One of the most memorable musical moments of this year's Urban Network Summit in Newport Beach was the sight and sound of the lovely Lina singing her gorgeous new single "Feel the Love" in the Saturday afternoon sunshine of our poolside concert showcasing independent artists. She had people dancing and swaying shamelessly like palm trees in the breeze as her crystalline pitch-perfect tones floated through the air straight to our hearts. Can't picture it? Listen to the intro of this song…and imagine. Lina has been on the Atlantic and Hidden Beach labels where she released strong albums, but her new self-released project, Morning Star, is her finest and most assured to date. The lady just gets better and better. This generous 20-track disc (primarily produced by her longtime partner Jeeve) is further highlighted by the dreamy "Everyday" (what Patrice Rushen would be singing today if she was still doing pop), the thoughtful "Who's Your Daddy" (signature Lina with Victrola-era vocal harmonies at the service of a message about who young men should NOT be emulating), the exotica of "Thru the Fire," the dismissal of life drama body hugger "Gone," the dually evocative "Good Day" and "BreakThrough," and, finally, the righteously uplifting "Change" (what the Emotions would be shouting to the heavens if they were still around). Honestly…when have you heard THIS many GREAT songs on one NEW CD?!?! Lina is in the zone.

 

When a superstar has fallen to the Antarctica of the industry, there is nothing like basking in the sunshine of a triumphant return. So it is not at all surprising that Mariah Carey has essentially given us "The Further Emancipation of Mimi" with her milestone tenth and latest project, E=MC². Expertly attuned to the sound of today's club and radio realms, its further proof that Mariah, Jermaine Dupri and the most successful production teams of the 0-8 are giving the people precisely what they want on these 14 songs. The effect is like Mimi in the mirror, trying on several styles and customizing them with her own singular flair. Highlights swing from the irresistible four-on-the-floor flirtation "I'm That Chick" and the wicked Jamaican patois that she pulls from her bag of tricks for "Cruise Control" (f/ Damian Marley) to her lusciously layered vocals that assuredly escalate to an exciting close on "I Stay in Love" (which feels about a minute too short) and a great goodbye song that forgoes melodramatic fireworks to reflect the more numbing pain of heartbreak titled "Thanx 4 Nothin'." Prepare to hear all these and more on the radio over the next year.

 

This month's cover girl Leona Lewis has already mesmerized the pop masses with her haunting debut single "Bleeding Love." Her debut CD serves up more where that came from – heart-wrenching ballads of epic sweep and declarative vocal performances. The Simon Cowell discovery that excelled on the U.K. talent show X Factor also reprises the classic that held television audiences spellbound – "The First Time Ever I Saw Your Face" – and elsewhere mesmerizes with a great new Ne-Yo song titled "I'm You." Though an unwaveringly pop collection in the way Mariah records used to be, that song is her strongest shot at Urban airplay. CD includes two U.K. bonus tracks. Get to know Leona better by reading this month's Q&A.

 

The history of showbiz is littered with artists that for one reason or another were overlooked when they were here. Yvonne Fair is one. In her prime, she was a dazzling performer, a risqué potboiler who more than held her own as a star of both the James Brown and Chuck Jackson reviews. By the time she got to Motown, she was the warm-up act for the Jackson 5's first arena tours…for two summers running. But with the company focusing squarely on morphing one Diana Ross from a music superstar into a Hollywood icon, this seasoned performer got the short end of the stick (though she almost stole the diva's thunder with an unforgettable turn a nightclub singer in Lady Sings the Blues). Motown finally released her bold soul statement The Bitch is Black in 1975, but the material was culled from six years of sessions. Luckily, producer Norman Whitfield – on his way out of Motown to start his own Whitfield records company with Rose Royce, looked kindly upon her. He helmed smokin' versions of "Funky Music Sho Nuff Turns Me On" (featuring background ad libs by Marvin Gaye), a cover of Stevie Wonder's "Tell Me Something Good" and a knockout rendition of the Gladys Knight wedding chapel classic "It Should Have Been Me" that Yvonne snatched to make her own. As is often the case, this album was embraced with much more love overseas (in Australia, where it went gold, they had a serious love affair with her). Now over 30 years later, the Reel Music label is giving Yvonne's 10-song swan song a second chance. Don't sleep. CD includes a booklet with many never before published photographs... and an essay by yours truly culled from hours of interviews with those who knew and loved the lady.

 

Last month I hipped you to a new album by poet/bassist Malcolm-Jamal Warner. This month, I have another entry in the neo spoken word jazz category. It's the group Dapp Theory, spearheaded by pianist Andy Milne and featuring the "percussive poetry" of John Moon, woodwind player Loren Stillman, bassist Christopher Tordini and percussionist Sean Rickman. Together, this unique ensemble buoys Moon's everyday musings on existence, love and humanity with challenging musical soundtracks of odd metered complexity that match the lyrical messages like a glove. This is thinking man's hip hop for those ready to digest more than today's anemic "beats and rhymes" - hungrier for substance reflecting today's troubling times. This is not to say that this music is devoid of beats (all upside your head) or rhymes (for your mind) - dig highlights such as "Bodybag for Martin," "SOS," "Tracing the Page" and "Monk Walks" from this literary 11-song time capsule. (Note: Also seek out Milne's solo piano CD Dreams and False Alarms on the Vancouver-based Songlines imprint. It features thoughtful takes on gems by Bob Marley, Sting, Joni Mitchell and more.)

 

What a difference a few years makes. Bryan Wilson made his mark with a standout traditional gospel version of "His Eye is On the Sparrow" for the Mississippi Children's Choir at the age of 12. Now at 25, Bryan is as crunk for Christ as he wants to be with a boldly contemporary set of songs that marks his first solo CD since 1999's Growing Up. From the powerful opener "Who? You!" to the bouncy title track "A Second Coming (My Life)" to the laidback and reflective "Change in Me" and "Still My Father/God's There" to the harmonically rich "Yielding" to the closing techo-electrocution of "Ride Out," Bryan brings tiding of soulful good news that the youth demographic will dig (produced by Kris "Doc Sizzle" Bell).

 

I had the pleasure of watching DJ Logic at work last year on the North Sea Jazz Cruise, defiantly spinning a web of electronica with flavors from around the world. Those brisk nights under the stars were but a sneak preview of the senses-pleasing excursion he whisks you on with producer Jason Miles on this evocative disc. Assembling a cast of instrumental superstars that includes trumpeters Herb Alpert and Christian Scott, guitarist Vernon Reid (of Living Colour), bassist MeShell Ndegeocello, keyboardist Bernie Worrell, percussionist Cyro Baptista and saxophonist Karl Denson, Logic & Miles soothe you from head to toe with a set that feels like a magic carpet day ride to the sunniest climes our earth has to offer. Forget highlights. Just start at track 1…and sail on.

 

When jazz fusion mainstays the Yellowjackets first bowed on Warner Bros. in 1981, the L.A.-based group was a vehicle for guitarist Robben Ford who departed after the first few albums. From that point on, the group became a saxophone based quartet that, at one point, seemed intent upon carrying on the 6/8 tenets of the most radio friendly Weather Report themes it could muster. This new album, however, boldly puts guitar back in the group's forefront with their Heads Up label mate Mike Stern, long one of New York's finest players and composers. Stern is present on all but 3 of Lifecycle's cuts and it's a match made in Heaven. Fast your ears on masterful essays in cool like "3 Circles," "Country Living" and "I Wonder," another of Stern's patented transfixing ballads titled "Dreams Go," and the dazzlingly sunny "Yahoo." Yellowjackets are founding bassist Jimmy Haslip, founding keyboardist Russell Ferrante, saxophonist Bob Mintzer and drummer Marcus Baylor.

 

When I was a kid, I remember reading the name Randy Jackson on the back of an album cover jacket as the bassist who rocked the hell out of Narada Michael Walden's jam "The Real Thang" back in 1980. It's been wonderful to see him grow into a record executive, television star and record producer in his own right. This various artist collection features team-ups of amazing and seemingly disparate artists for some first rate collaborations. Standouts are Paula Abdul's club collar popper "Dance Like There's No Tomorrow," Joss Stone's pumped women's anthem "Just Walk On By," a beautiful country duet between Anthony Hamilton and John Rich titled "Home," Barbi Esco roll-calling sweet memories of modern soul titled "My R&B," an updated cakewalk through the blues classic "Wang Dang Doodle" by Keb' Mo, Angie Stone and Sam Moore (of Sam & Dave "Soul Man" fame), and the spirit-nourishing gospel closer featuring Kim Burrell, Rance Allen, BeBe Winans, Mariah Carey and Hezekiah Walker's Love Fellowship Tabernacle Church Choir. File under Boundary Bashers!

 

You may remember Mr. McClary as the Commodores' bespectacled guitar slinger of endlessly inventive rhythm licks and soaring signature solo on "Easy." Well, he's reelin', rockin', rollin' and even hip hoppin' for The Lord now on his first solo album in several years. The title truly says it all. That Thomas remains sharp and young at heart is revealed from the gate on the intro by his son Ryan (who produced the track) and a rap from the senior McClary. From there, a collective of young, inspired vocalists pass the mic on songs that move from down south club bangers ("Put 'Em in The Sky"), reggaeton ("Come On God's People" featuring great guitar work), laidback soul ("I'll Serve You") and power pop ("Whatsoever Things I Do") to introspective country ("If Money Could Talk"). McClary – who was a writing powerhouse for the Commodores - penned all of the tunes but generously shares the spotlight with his deserving young collaborators on these 13 hooky and undeniably radio-worthy smokers.

 

Master Mayfield was a true inspiration for Black people in the music business, learning and following through early on to start his own publishing and recording companies, writing songs of intense Black pride and struggle for his group the Impressions and others, and eventually becoming a revolutionary solo artist and black movie soundtrack pioneer. Bits of that legacy are touched upon in this uneven two-disc DVD. Admirably, political figures such as Andrew Young, rapper Chuck D and even Mayfield's widow are referenced sharing compelling insights, as well as surviving Impressions members Sam Gooden and Fred Cash. However, the presentation of their anecdotes is disappointingly stale. Also problematic is Reelin' in the Years' penchant for replacing original TV audio with digitally re-mastered versions of the songs as recorded for singles/albums. We understand why they make this choice (for superior audio representation of the music), but you lose any sense of the studio audience's reaction to the music. Perhaps on future releases they can manage a mix that gives the best of both audio worlds. The Impressions were blessed with pop crossover hits which got them on a lot of White music programs, but it's painful to watch those audiences either struggle to grasp or remain completely ignorant of what Curtis and company were trying to say. Things improve one hundred percent on disc 2 where live performance footage of Curtis solo with a crack band that includes the late great conga and percussion king Master Henry Gibson takes over. Any piece that sheds light on Mr. Mayfield's contributions is a welcome thing, but this could have been a more compelling document.

 

This DVD is an updated version of a documentary first released on VHS in 1997. Unfolding in vibrant and impressionistic composition, the piece colorfully tells the story of German Jewish immigrant Alfred Lion discovering black music by chance as a child, later fleeing his country under Hitler's rise, arriving in America poor yet building a record company exclusively based on music - black American jazz music – that moved his soul. His motto: "It has to schwing!" With his partner – shy yet passionate photographer Francis Wolff - Lion documented the shifting palette of jazz, beginning with aging pioneers like Sidney Bechet, on into the revolutionary be bop of Thelonious Monk (when no one else would take a chance), soul jazz chefs Horace Silver and Lou Donaldson, the brilliant organ of Jimmy Smith, the propulsive post-bop of Art Blakey & The Jazz Messengers, and the launch of chameleonic wonder Herbie Hancock. Exclusive interviews with Lion, his wife, historians (Joachim Ernst Berendt), fans (Kareem Abdul Jabaar) and many of the musicians who contributed to the history, make this a colorful and upbeat hour and a half about commitment to muse and quality that is an inspiration to all. Look for the solo saxophone concert excerpt of the great Sonny Rollins on tenor.

 

The legendary Memphis soul recording company gets its most thorough filmed examination to date in this fascinating documentary that juxtaposes thrilling performance footage by star acts such as Sam & Dave, Isaac Hayes, the Staple Singers, Johnnie Taylor, the Bar-Kays and Rufus & Carla Thomas with insightful on camera commentary from key people that were there for the history, including all of the aforementioned artists, plus company co-founder Jim Stewart, latter day President Al Bell, songwriter Bettye Crutcher, session musicians and "M.G."'s Booker T, Steve Cropper and Duck Dunn, and more. Race plays a heavy role in this story of a company founded on cultural mingling, yet eventually torn apart by it after the assassination of Martin Luther King in the very hotel where the blissfully interracial company held its summer sanctuary pool parties. The hour and 54 minutes fly by, providing much insight and entertainment that you will want to watch more than once. The only disappointment is that the producers couldn't unearth footage of lesser known acts such as the volcanic Soul Children.

 

Woodwind specialist Maupin is most famous for stints he did in Miles Davis' band circa Bitches Brew and Herbie Hancock's seminal Headhunters group. But right in the middle of all that early '70s fusion work, Maupin recorded one of ethereal jazz giant ECM Records' initial gems, The Jewel in the Lotus. Over three decades later, he returns to that sublime mix of in the moment improvisation and synchronistic quartet interplay on Early Reflections for the like-minded Cryptogramophone label (celebrating its 10th anniversary as a progressive outlet for instrumental music). Within the 13 songs are short bursts of freestyle creation that set up more breathtaking compositions such as "Escondido" and "Tears." Even a bluesy swing is managed on "Prophet's Motifs." Playing his signature bass clarinet as well as alto flute, tenor and soprano saxophones, Bennie and his all-Polish quartet (joined by vocalist Hana Chowaniec-Rybka on two numbers) explore great knowns and unknowns on this spellbinding offering.

With Herbie Hancock's blessing, the Headhunters band continues on with original percussionists Bill Summers and Mike Clark holding things down with a band of young torch bearers: keyboardist Jerry Z, bassist TM Sevens and saxophonist Mark Shim. Groove dominates this only mildly satisfying live effort from the funk-jazz fusion pioneers. The new compositions pale to the reinvigorated workouts the group puts classics such as "Sly" and "Watermelon Man" through. Of the new pieces, only the winding percussiveness of "Loft Funk" retains the spark of old. Thankfully, this CD also includes bonus footage of the band chasing the voodoo down in Bobigny, France.

The world's flyest party band put on one of the best shows I saw last year at the L.A. County Fair. What made the night so special was that beyond the big hits, the surprise opening of "Mesapotamia" (and lettin' it all hang out with an old friend) is that the B's introduced several new songs – and they ALL held up nicely next to the classics, giving us a sneak peek of this, their first CD in 15 years! Titled Funplex, the project is just that – an audio trip of familiar sounds tweaked with the club and lounge vibes of today that whisk you to the land of inhibition free fun we all crave. Highlights of the 11-song festival are the frenetic opener "Pump," the psychedelic dream "Juliet of the Spirits," the sing-a-long title track and a salute to intoxicating beverages titled "Deviant Ingredient." When you listen, don't think…SHIMMY!

This is a 16-track collection of obscure and failed singles from the Philadelphia International vault that reminds us of some of the other music coming from the label while Billy Paul, The O'Jays and The Blue Notes were putting the label on the map. There are just enough gems here to make it worth buying. Those songs begin with the unhinged indignity of Ruth McFadden with "Ghetto Woman," Bunny Sigler's hilariously over-the-top blaxploitation jam "Theme for ‘Five Fingers of Death'" as well as his super bad soul cut "Everybody Needs Good Lovin," the blood curdling soul of Bobby Bennet's "Days Go By," the Heaven-sent harmonies of the Futures with the innocently crooned "Love is Here," the mysterious and misty Mellow Moods with "Stop Taking My Love," the label's first band Yellow Sunshine (the sextet that graces the cover of this CD featuring Dexter Wansel on keys) with their theme song, and the second single ever to be released on PIR: "It's So Wonderful" by Chi-town's Johnny Williams. These little known primarily Philly locals are deserving of a far more in-depth liner note essay than the one panel parceled out here, but the slices of soul they left behind are mini-treasures waiting for your ears to discover.

 

Honesty, clarity and dignity are the terms often used to describe the musicianship of Valdosta, Georgia-born Avery Sharpe. The esteemed upright and electric bassist pays powerful homage to McCoy Tyner, Archie Shepp and Yusef Lateef - mentors and giants he had the honor of recording and performing with - on this outstanding straight ahead jazz project. To do so, Sharpe composed one song apiece in each man's honor, then arranged two of their compositions, making for nine truly inspired pieces of music. Sharpe's unique and highly skilled quintet consists of pianist Onaje Allan Gumbs, violinist John Blake, sax and flute man Joe Ford, and drummer Winard Harper. Says Sharpe, "These artists not only changed the face of music, my association with them changed my life and the way I view music." Feel the love.