Sista Lalah has graced the reactivated Stax label with its first contemporary classic. The best soul music speaks to your heart and soul in ways that are laser-focused and direct - whether you are in a room full of people or alone with your headphones. Lady Hathaway has always had "the voice," but starting with her previous project, Outrun the Sky (2004), she cracked open a window into her soul by writing more of her own material. The fruits of this artistic transition are ripe and in robust flavor on what is – amazingly – only her fourth solo album in 18 years (though she has been a ubiquitous and coveted guest on the albums of others). The essence of Lalah all comes together here – a cohesiveness to the mood and tempo, a vibrant balance between the stone ground soul of father Donny's era and the more detached and galactic soul vibe of today, brilliant extractions from the intoxicating harmonic spectrum of jazz (thanks to producer Rex Rideout), and Lalah's beautifully layered voice floating all around you in spellbinding lead and background offerings. Self Portrait picks up an autobiographical thread begun on Outrun the Sky with its closing song "Boston." Listen to confessionals such as "That Was Then," "Learning to Swim" and "Little Girl" mixed with wisdom meditations like "On Your Own" (partially inspired by an unreleased song of Donny's), the hair-raising dual voices on "Naked Truth" (both Lalah's), the mental massage of "Udo" and the bittersweet backbeat truth of "What Goes Around." It doesn't get any deeper than the closing existential musings of "Tragic Inevitability," but once you absorb its message of acceptance, you'll see that all Lalah has really done is brought you back to the beginning – the booty moving soul food of "Let Go" and the balm of "Breathe" - subconsciously suggesting that you let the universe do its thing and you just do you...by any means necessary. Soul music is elevated ten-fold by the blossoming and unification of all of Lalah Hathaway's substantial musical gifts on this most-deserving slice of Stax wax.

 

"Huddle-Huddle-Huddle..." Team Roots goes deeper into the bat cave with their network of like-minded messiahs (Mos Def, Styles P, Common, Malik B and more) to ultimately refract back out at society about how things are falling further apart. The anger is palpable, the energy is evangelical and the sonic sound scheme is Afro-elemental (hard as hay-yell). The rock-laced detour "Criminal" (f/ Truck North & Saigon) and the techno tracks "I Will Not Apologize" and I Can't Help It" find producer Questlove mixing up the brew, but the overall impact is of the urgency/emergency ilk. Heed the warning.

 

Brian has always been the consummate smooth jazz recording artist with the slammin' live show, but now he has brought the funk fire of his concerts to a knock-your-socks-off studio session in salute to the spirit of '70s funk. And brother man is not playing around. He commissioned some of the greatest icons, band members and session musicians of the era to join in making this the most authentically funky gathering it could be, including Bootsy Collins, Larry Graham, Ray Parker Jr., Ronnie Laws, David T. Walker, Larry Dunn and Sheldon Reynolds of Earth Wind & Fire, Tony Maiden of Rufus, Greg Adams from Tower of Power, and in the co-production chair, Maurice White...to name only a few. The result is a 10-song record that consistently and most agreeably burns from top to bottom. The program consists of six originals and four classic covers, the most unbelievable of which is a version of the Donny Hathaway gem "Voices Inside (Everything is Everything)" where Brian plays his hottest piano solos ever. Also sweet is a version of Bill Withers' "The World Keeps Going Around" sung by Ledisi and the first single, "Always Remember," a sunshine song that'll make you feel good all year 'round.

 

Here's one that came out of nowhere – just arrived in my mailbox sans any paperwork. The singer/songwriter/guitarist has a clean, clutter-free approach to her writing and the overall engineering mix of her disc, making it truly easy and endearing on the ears. Her sound reminds me of the stripped, no frills yet elegant work of Cecil & Linda Womack and kindred spirits like Louise Goffin and Alana Davis. The varied production textures of Sheldon Reynolds also lend her sound an otherworldly sheen. Captivating me most are "Exodus," "Girl of Your Dreams," "Forgiven," "Paper Doll" and "Grateful." Urban radio should especially check out the sophisti-funk of "Keep On" (featuring Brian Culbertson on piano). And the let-him-down-easy heartbreaker "Something" will connect with those looking for a kinder way to say goodbye. (www.victoriawhiteonline.com)

 

Each time singer/songwriter/guitarist Calvin Richardson has created an album, he has taken his time to craft something that distinguishes his sound from other male singers in the R&B game. For his third and latest release, his first in five years, Calvin worked just as hard and came up with the finest album of his career to date. He moves easily and naturally from the sexy, conga-driven audio aphrodisiac of "Give it to Me" to the plaintive and poignant "Daddy to My Kids" to the intimate acoustic textures of "Make Friends with Love" and "She's Hurtin'" to a contemporary spin on the doo wop pulse of "Sang No More." Calvin composed, produced and arranged all of the songs this time, which sets this album apart from his 1999 debut Country Boy (Uptown/Universal) and its 2003 follow-up 2:35pm (Hollywood Records). What he excels at is taking samples from classic soul gems such as Blue Magic's "Stop to Start" and Bill Withers' "Ain't No Sunshine" and flipping them in a way that allows him to make personal statements instead of merely copying the masters.

 

Ms. Doss continues baring her beautiful soul in the name of love and relationships on this intimate fourth CD, aptly titled Still..., 'cuz she's still deliciously on-point. My favorites of the 14 are the sensual whirlpools of "Can't Stop" and "What I'd Do," a manifesto to get her man up off the couch titled "Something 2Nite," the stinging guitar over the sultry blues on "How About Us," plus the probing inquiries of the flirtatious "Come Over" and "Let Me Love You." The lady is putting this one out through her own Conya Doss Songs imprint. Hit a sista up at her website at www.conyadoss.com

 

Album #3 finds Lyfe coming out of all four corners of the ring with flavors across the spectrum from old school soul to reggae soul (featuring Wyclef Jean) to hip hop soul (featuring Snoop Dogg) – all on varying topics under the subject of change. Though some of this is rather repetitive, clever standouts are "Brand New" (featuring T.I. and female vocalist Gritz, a new artist on Lyfe's Jesus Swings label), the ominous AIDS message "It's Real," the hopeful opener "Keep on Dreaming" and a galvanizing closer in the all-out looking for love anthem "Will I Ever."

 

I met this trumpet cat Elliott in a downtown L.A. coffee house at the birthday party of my old friend Leroy Downs (now a DJ on KKJZ-FM). Elliott told me his major influence was Lee Morgan and that he had a CD titled Blues from Mars he'd like me to hear. I told him to send it on. It took me a couple of weeks to get to it, but when I did, man... This is solid, soulful post-bop rendered by an impressive collective of team players and improvisers that includes saxophonist Justo Almario and pianist John Rangel. Most compelling are the opener "Blues for the Revolution," the eerie Halloween-ready title track (featuring theremin and tanerin by Probyn Gregory), "Mambolishus" (featuring DJ Bonebrake on vibes), "Fields of Jazz" (dedicated to the memory of L.A. jazz air personality Sam Fields) and the sole cover of the 10-song set, "I Thought About You," on which Elliott switches to Flugelhorn - solid imaginative playing all the way around (with liner notes by Paula Edelstein).

 

Here's a Newark-native who made her fortune in the business world but never lost sight of her dream of jazz diva-dom. On this breezy 9-song disc, Holiday brings to life blues ("Never Make Your Move Too Soon"), Brazilian sambas ("Samba de Amor"), ballads ("All the Way," accompanied only by piano), tender torch songs ("My Little Rainbow") and succulent soul ("Knock on Wood") with equal passion and panache. Working with the Cedar Walton Trio and a couple of other small groups, Ms. Holiday swings with verve and sass, making you feel like you're parked front row center at your favorite, earthy, kickback jazz hang spot. And folks are going to love-love-love her flirty original "I Like What I See," a fan favorite from her much raved about live show. This is one Holiday you'll never forget.

 

Singer/songwriter Donna Summer erotically erupted onto the pop scene in 1975 as a fantasy – an orgasmatron of the night that blossomed into the dazzling "Queen of Disco." However, it is sobering reality and hard-earned wisdom that make Ms. Summer's Crayons (her first album of all new material since 1991) an intimate statement rocket blasted for the whole galaxy to experience...and boogie to. The lady's star still shines blinding with dance floor romps, particularly "I'm a Fire" which crackles with the spark of old, proving once and for all how ahead of her time Donna was with the Euro-synth classic "I Feel Love." Yet the real appeal of this project is what's on the woman's mind in songs like the world unification anthem "Crayons" (a reggae duet with Ziggy Marley), "Fame (The Game)" on which she shares what the trap of celebrity life is really like and "Drivin' Down Brazil," a sunny romantic reunion set to a techno samba groove. Deeper still are the quieter numbers "Sand On My Feet" (appreciation for the blessing of someone to love in a place and time of contentment) and "Be Myself Again" (melodically reminiscent of the Rolling Stones' "Sympathy For The Devil" on which she contemplates whether her stardom came at too expensive a price)." Finally, there's "Slide Over Backwards" which finds Donna doing what sounds like her best Mavis Staples impersonation (a hoot) and the inspirational closer "Bring Down the Reign." Paired with her literary autobiography Ordinary Girl, Crayons is an up close and personal portrait of a queen whose throne knows no bounds.

 

I have literally loved this man and woman all my life. Though I sometimes find their voices at comical odds – Billy's southern soul wail against Marilyn's lovely mo' proper delivery – they have a chemistry that makes it work more times than not. The reason, as Luther Vandross would have decreed, is "because it's really love" when they look into each other's eyes and sing a song. For their first secular album since (clutch the pearls) 1978 (!), the 7-time Grammy winners turn their astute attention to classic songs that reflect The Many Faces of Love - i.e. emotions running the gamut from ardor and joy to anger and regret. The first single is a warm rendering of the Sam Dees-penned "Love All the Hurt Away" (made famous by Aretha Franklin with George Benson) that won't make you forget the original, but goes down smooth and easy. More impressive are their takes on The Manhattans' "(You Are My) Shining Star," the timeless "You Are So Beautiful," Marilyn's solo turn on Bacharach & David's "This Girl's in Love with You" and Billy's mighty "When a Man Loves a Woman." Most intriguing is their take on Lennon & McCartney's "We Can Work It Out" - ingeniously arranged to convey a couple quarrelling. Even the music sounds angry! Lovingly assembled, this deluxe 13-song package includes photography by their 5th Dimension brother Lamont McLemore, interactive bonus material, videos, links and much more. And if that's still not enough McCoo & Davis love for you, you can add to your on-line shopping cart their 1976 debut album as a duo, I Hope We Get to Love in Time, recently reissued for the first time on CD (by Collectors Choice Music). The title track of that album is sheer heaven. Having recently celebrated their 35th wedding anniversary, Marilyn & Billy clearly got to love in time - challenges and all. Their latest offering was created to inspire other couples to reach for that shining star. (Visit their website www.marilynmccooandbillydavisjr.com to order this as a CD or a digital download.)

 

I had the pleasure of attending a celebration concert (Ms. Sheree does not do "sit politely with hands folded" gatherings) at USC that – among other missions - launched a wonderful new book and CD for children (of all ages) titled Zhakanaka, The Word. It's the story of a bullied little girl in a great big world who meets a Christ-like figure named Mr. Jesse who imparts messages of self-pride, peaceful living and positivity that little Alex takes on her journey of life. Songs like "Gotta Hold On," "If I Had the Magic," "Wish I Could Fly Away" (featuring Patrice Rushen and Juliana "Jai" Bolden), "Ego Flight (Remix)," "Rainbow Eyes" and "Light of the World" are the kind that are best heard and learned early in life, but that can comfort and fortify you at any age. Since her late '70s debut, Brown has been a passionate, natural and masterful conveyor of such messages. Her gifts of poetry and melody shine brighter with every passing year. Kudos to her, her co-author/husband Douglass Johnson, Sr., collaborator/illustrator Pixote Hunt and all of the talented young people Brown mentored as part of this multi-media endeavor from her Brown Baby Entertainment Group (with liner notes by Billboard's Gail Mitchell). "Travel well, my friend, and have a beautiful life – Zhakanaka!"

 

In the world of modern black folk music there has rarely been an album of such naked beauty and bittersweet lyricism as singer/songwriter Terry Callier' 1972 masterpiece Occasional Rain. It's a place where a world weary voice, raw poeticism and brilliant arrangements come together to paint vivid portraits in your mind of man's inevitable vulnerability as he makes his way through love and life. Produced by the late, great Charles Stepney in a small intimate setting of rhythm section, harmony vocals and haunting cello in spots, this album takes your mind and soul on a sweet journey. The undeniable classics are the finger-poppin' uplifting opener "Ordinary Joe," an ode to woman as the sanctuary for a man's blues titled "Golden Circle," an evocative scenario of racial strife titled "Trance on Sedgewick Street", the tender lovers reunion song "Do You Finally Need a Friend" (with support vocals by Minnie Riperton) and the musical teardrop that is "Occasional Rain." Every home should have a copy of this project – be it an original Cadet Lp, or Verve's re-mastered CD with original artwork and lyrics.

 

It's been decades since I've been mesmerized by a Carly album...we're talking 1979's Spy (all original material) and 1981's Torch (gorgeous arrangements of old chestnuts). But her new album, produced and arranged by Jimmy Webb, is a perfect marriage of inspired original material cohesively set and sequenced to the rhythms and realities of Brazil. Highlights of the 13 songs include the dark funk of "People Say a Lot" (a taste of that "You're So Vain" 'tude with several raps by Carly – I guess her cameo on Janet Jackson's "Son of a Gun" got good to her), the groovin' "Hola Soleil," the thoughtful navel gazer "Island" (penned by her son Ben Taylor), the solitary blues of "In My Dreams," a heartbreaking prayer for the poor of Rio from an angel's point of view titled "So Many People to Love" (co-penned with Carole Bayer Sager and Wade Robson), and the quaintly romantic Webb original "The Last Samba." This is a high watermark for the pop icon...still sexy after all these years (yes, I have the RIGHT Simon).

 

I listened to this CD for the first time on the night before Mother's Day, which was fitting because guitarist Earl Klugh dedicated this one-from-the-heart – his first group CD in nine years - to the memory of his mother. It marks a seamless blend of the pioneering smooth jazz strains for which he is loved around the world with a few very pleasant surprises, the first of which is a reunion with legendary orchestrator Don Sebesky on several tunes, including the opener "Ocean Blue" (with shameless shades of Wes Montgomery peeking through – Sebesky arranged some of that late master's most memorable work, including the Bumpin' album). There are also two solo Spanish guitar pieces. The sweetest surprise, though, is his smooth yet quite respectable version of Thelonious Monk's "Bye Ya" featuring trio mates Jeff Cox on bass and Yonrico Scott on drums. Heartstring meets Night Songs on this return to form disc from Klugh.

 

Marty Sheller is probably best known for the decades he spent working faithfully as Mongo Santamaria's Musical Director. The man has been at the service of many Jazz and Latin Jazz greats over the years but is only just now making his first project as a leader. What a project it is – big band impact from a 9-piece group! Though only consisting of six tunes, each one is a powerful, meticulously rendered statement split evenly between three original compositions and three scintillating arrangements of material by others. The album opens with the wham of Sheller's own "The Route 40 Flyer" followed by the wow of his take on Wayne Shorter's "Mahjong." Simply press play and let all six pf these tunes amaze you into an altered state of all natural jazz euphoria.

 

Celebrating the 50th anniversary of pop singer/songwriter Peggy Lee's signature hit "Fever," Collectors' Choice Music has assembled four separate double discs of material in tribute to the lady. I'm focusing on this particular 2-CD set because it contains the broadest spectrum of her musicality and some of the rarest of her recordings from the pre-album era of singles. Of the 39 tracks, I was most taken with an alternate take of "Don't Be So Mean to Baby" (which she co-wrote with her guitarist husband Dave Barbour), the catchy "If I Could Steal You From Somebody Else," the dreamy Billy May-arranged "My Magic Heart," and the oft-covered advice fable "A Hundred Years From Today," which encourages one to attack life with gusto without fear of making mistakes because a century from now, who will care (Ethel Waters originated the song in 1933). Elsewhere there are gems such as "I've Had My Moments," "It's Lovin' Time" and "Ain'tcha Ever Comin' Back" that are perfect for cozy nights and lazy Sundays. Thanks for the memories, Ms. Peggy Lee.