Jason E.

Isaac Hayes- the Ultimate Isaac Hayes: Can You Dig It?

From 1969 to 1979, Hayes made seminal gold and platinum albums like Hot Buttered Soul and Shaft. Despite that fact, Hayes has often been ill-served by compilations. Sadly, some might add the Ultimate Isaac Hayes: Can You Dig It? to the list as well. You know why? It's stodgy, completist and academic tone manages to make Hayes something he's never been accused of being: Boring. Despite the fact that Hayes has a deep and varied catalog to work from, this set is crammed full of clutter. Some of the classics are here however. The Theme from Shaft, the 45 version of Joy, and his take on Never Can Say Goodbye are strong enough to withstand even the silliest compilations.

Like many anthologies, this attempts to do too much. While it's good to hear Good Love, and Help Me Love they both belong on Black Moses. Things don't get much better for the second CD as the omissions and inclusions are even more arbitrary. In fact, tracks like Someone Made You Just for Me and the always corny Run Fay Run should have been replaced by Ellie's Love Theme or Type Thang. This being Isaac Hayes, it's all not bad here. The Ultimate Isaac Hayes: Can You Dig It? also includes tracks from his ABC years like the smooth Come Live with Me and the dreadful Disco Connection. This set spans from 1968 to 1976. Although CD's like this are custom made for fans, Can You Dig It? Seems more like a history lesson and strays too far from the essence, panache and fun of its subject.

Jason Elias

Marvin Gaye- In Our Lifetime

Marvin Gaye's In Our Lifetime came after 1978's confessional and meandering double-album “Here, My Dear”. Although this better set does seem effortlessly
conceived, it wasn't that simple. Gaye originally envisioned a "party" album and almost released one called “Love Man”. After some consideration, Gaye nixed the idea and aimed for an effort that would spotlight his religious concerns. Thankfully, In Our Lifetime splits the difference between the two mindsets. The
first single from the aborted “Love Man” shows up here. "Ego Tripping Out" works as both a parody of the "love man" with a few autobiographical flourishes as he sings, "Got a sweet tooth/For the chick on the floor."
Slowly but surely the religious matters do surface here. The buoyant "Praise" has a blithe riff inspired and/or lifted from Stevie Wonder and has Gaye getting
his message across without being preachy. Although no song is especially brilliant here, the level of Gaye's musical sense and his vocal prowess carry him
throughout. The unfinished and non-Gaye approved "Far Cry" has lyrics that are steam-of-conscious and are barely decipherable. The mesmerizing "Love Me Now or Love Me Later" has Gaye examining both good and evil with equal skill. The last track, the title song, has Gaye back in the party frame of mind and has great horn charts and a propulsive beat. In Our Lifetime is one of his finest later albums and captures him as his craft was maturing and becoming more multifaceted.

Ramsey Lewis- Love Songs

Sometimes it's a good idea to do a Love Songs compilation. This is one of those times. Ramsey Lewis was signed to Columbia from 1973 to 1991. Of course, during those times, jazz went through many changes, and Lewis was certainly ready for them all. Easily moving from acoustic to electric piano to whatever synths were in fashion, Lewis never lost his charm or musical identity, although ”Spiderman” and “Breaker Beat” certainly cut it close. No worries and no ill-conceived dance tracks here.

Love Songs does nothing but find that common, resonant core which is inherent in Lewis' best work. The mid-to-late '70s tunes “Juaacklyn,” ”Nicole,” and “I'll Always Dream about You” all demonstrate Lewis' Fender Rhodes prowess as well as the inimitable styles of producer/arrangers including Maurice White, Charles Stephney and James Mack.

This set also includes the best of Lewis' 1984 collaboration with Nancy Wilson, including “Midnight Rendezvous” and “Two of Us”. Oddly enough, given the
commercial yet non-compromising work, the “serious” songs from Lewis' 1988 “A Classic Encounter” might be a tad depressing for some. A few key omissions don't help matters either. It's hard to imagine a Ramsey Lewis Love Songs compilation without essential tracks like his cover of “Betcha by Golly Wow” or 1979's “I Just Can't Give You Up.” Love Songs isn't a flawless
compilation, but it certainly will remind people of the breadth and varied nature of Lewis' catalogue.

Norman Connors' first set since 1988's successful Passion, Remember Who You Are has the drummer/composer not only successfully updating his trademark sound but also broadening his production skills. This effort is his first for MoJazz, distributed by Motown. Connors does an equal amount of originals and covers throughout the recording. He reunites with one of his best vocalists, Phyllis Hyman, for the poignant and well-orchestrated title track. "You and I," featuring a great vocal from Angela Bofill, is reminiscent of Connors' classic sound and melodic changes. Not all of the covers work, though. Spencer Harrison hams it up on the always tricky "Lush Life," but he makes up for it on the solid cover of "A Song for You." The biggest surprise here is Connors' take on Herbie Hancock's "Tell Me a Bedtime Story" — the track features a charismatic, full-bodied lead from Eve Cornelious, who also co-wrote the added lyrics. The production and arrangement stay true to the song's whimsical nature, and an ultrasmooth acoustic piano solo from Patrice Rushen is featured. There is also some good instrumental work on Remember Who You Are. The moody and atmospheric "Only When She Cries" has a keyboard solo from Jacques Burvick and fine tenor sax from Marion Meadows. John Coltrane's classic "Naima" gets the first-class treatment. A few of the tracks in the contemporary jazz/R&B vein, "I Can't Wait Till I See You Again" and "Just Like This" (featuring Denise Stewart), are skilled enough not to be disconcerting. Remember Who You Are shows Connors truly on his game; the album is another one of his fulfilling efforts.

The epitome of cool, the Brecker Brothers were one of best-selling jazz fusion outfits of the mid-70s to the early '80s. Randy Brecker (trumpet/flügel horn) and Michael Brecker (tenor sax) were ubiquitous session players and also members of the New York band Dreams. By the mid-'70s, they started recording under their own name. Their subsequent albums, The Brecker Brothers, Don't Stop the Music, and the live Heavy Metal Be-Bop all find the group doing challenging melodies in a genre that often played it too stupid. Detente finds them during a time when jazz playing was starting to get more lucrative. Keyboardist and producer George Duke was behind the boards for Detente. Although the Brecker Brothers and Duke are probably mainstays in any jazz fusion collection, their styles aren't analogous. Some of the tracks here clearly prove that point. "You Ga (Ta Give It)" and "Not Tonight" both come off as a little too radio-friendly. Not surprisingly, the best cuts here have both the classic intelligent Brecker Brothers sound as well as George Duke's production prowess. The sophisticated and funky "Tee'd Off" gets the Brecker Brothers on more familiar terrain and features a sinewy guitar solo from the underrated Hiram Bullock. The highly charged "Squish" and "Baffled" both display Randy Brecker's singular arranging skills. "Dream Theme," arranged by Michael Brecker, is the album's best song, reflective yet not melancholy, with his saxophone felt and flawless throughout. The last track, "I Don't Know Either," has solos from both of the Brecker Brothers, and displays the level of skill that many jazz outfits simply didn't possess. Détente features work from a litany of jazz players, including Neil Jason and Steve Jordan in addition to Duke.

Writer and producer Leon Ware has been responsible for some of R&B and pop's most lush and romantic tracks. Ware produced Marvin Gaye's 1976 classic I Want You.He also co-wrote songs like Michael Jackson's "I Wanna Be Where You Are," Marlena Shaw's "Sweet Beginnings," and the Main Ingredient's "Rollin' Down a Mountainside" to name a few. This album is the follow-up to his 1976 Gordy release Musical Massage and was released shortly after he was behind the controls for nine of the ten tracks of Melissa Manchester's Don't Cry Loud. Inside Is Love has the intelligent and melody rich work fans expect from Leon Ware. Produced by Ware and Ron Roker, this has arrangements from David Blumberg, Gene Page, and Sonny Burke. Although he's not the world's strongest vocalist, his methodical, light tenor gives these songs a personal stamp. The first track, "What's Your Name" has Ware playing his naïve lothario act to the hilt. The magnificent "Love Is a Simple Thing," co-written by Chicago member Robert Lamm, possesses a chorus that is both poignant and uplifting. Throughout Inside Is Love, Ware has some of his best lyrics and a batch of players to pull it off. The fanciful "Club Sashay," co-written by Manchester, has a gentle rhythm that's a perfect match for the phonetically pleasing words. The last track, "Hungry" has Ware mixing his classic style with the disco-fied chorus. Despite a couple of tracks that miss the mark, Inside Is Love is an absolute necessity for fans of emotional and brainy R&B/pop.

After his contract with Mercury was up, Garner brought his Octave label to London Records. While a lot of other players in his generation were moving to the Fender Rhodes and nudging toward commercial R&B or fusion, Garner continued to play acoustic piano in his singular and classic way. Magician is an album that deftly mixes originals with more standard fare. What makes this great is that Garner isn't swimming against the current of stodgy classics. To denote the changing times, some of the standards are from close to when the album was recorded. Burt Bacharach and Hal David's "(They Long to Be) Close to You" and "Watch What Happens" get an effortless and warm treatment. Garner's playing is lively throughout, and he's obviously in good spirits (as his trademark grunts are the best indication). He also does some great originals here, including the romantic "Nightwind" and the gospel and ragtime-influenced "One Good Turn." Magician's distinctive sound also comes from the rhythm section of bassist Bob Crenshaw and drummer Grady Tate. Those players as well as Norman Gold's organ make this sound like the great though not ornate '70s jazz album it is. Whether you find this on CD or vinyl, Magician is one of those efforts that certainly should be included in any eclectic collection.

The follow-up to 1974's Street Lady, Stepping into Tomorrow is one of those albums disgruntled jazz lovers may hate, but it definitely helped Byrd continue his crossover success. Tacitly ethnocentric and experimental, the album shows great chemistry between artist and producer (the Mizell brothers, Fonce and Larry). The title track, with its chanted vocals and skilled support playing, provided an atmosphere for Byrd to offer some emotive and complex riffs. On that track, as well as the comforting "Design a Nation," Byrd trades solos with alto saxophonist Gary Bartz. "Think Twice" has a mellifluous bridge that has warm keyboard playing from Jerry Peters and Larry Mizell. But despite the good tracks, there is far too much filler. "Rock and Roll Again" does neither and features James Carter's loved or hated whistled solos. "You Are the World," however, is another strong track and has that classic Mizell production style. The last track, "I Love the Girl," closes this effort on a ho-hum note. Although it isn't going to make any short list of straight-ahead jazz classics, Stepping into Tomorrow is a solid example of the Blue Note 's early-'70s commercial sound.

The follow-up to 1973's Unsung Heroes was the first of the group's Blue Thumb efforts to be distributed by ABC Records. The label switch also coincided with the inclusion of lyrical guitarist Larry Carlton as a full-fledged member. Although much of Southern Comfort puts a gloss on ideas made definitive on earlier efforts, the complaints are minimal and this remains the most appealing, multi-faceted incarnation of the band. The first track, "Stomp and Buck Dance," is an offhanded and skilled approach to the group's patently earthy style. The insistent "The Well's Gone Dry" has the edginess of some of the better tracks on Unsung Heroes, and has Carlton doing great work on the bridge. Not surprisingly, it is Carlton's presence here that adjusts the band chemistry and makes the best of Southern Comfort even more so. The best track here, the poignant "When There's Love Around," has Carlton's guitar attaining the perfect sense of longing that meshes well with Joe Sample's trademark Fender Rhodes tones. The last tracks here are also in a thoughtful ballad vein: "Lilies of the Nile" has great horn work from Wilton Felder and Wayne Henderson, and the last track, "A Ballad for Joe (Louis)," is a heartfelt rumination on the death of the famed boxer, featuring Sample's inherent sense of melody. A good representation of the Crusaders' tasteful and intelligent playing, Southern Comfort is more than recommended to their fans.

As an original member of Chick Corea's group Return to Forever, Purim subsequently drew praise as a solo act. Recording for the jazz label Milestone since 1973, Purim's sensual and strong voice was singular enough to withstand the pitfalls that hampered the work of many Latin jazz fusion artists. Open Your Eyes You Can Fly represents a commercial breakthrough, and has the artist again supplemented by adventurous players and top-notch songwriting. The best of the three Chick Corea tracks is the title song. With its emotive and stinging guitar solo from David Amaro, it features Purim at her most accessible and charming. The remake of "Sometime Ago" has one of Corea's more accessible melodies, as Purim turns in one of her sweeter and fulfilling vocals. The melodic and soothing "San Francisco River" has the artist writing solely with frequent Corea collaborator Neville Potter on the evocative track. Despite the great work here, Open Your Eyes You Can Fly lacks consistency. But with the great talents assembled and great voice, it's easy to overlook that fact. Hermeto Pascoal's "Andei (I Walked)" has a great synthesizer solo from George Duke and a flute solo from Pascoal. "Ina's Song (Trip to Bahia)" features Purim singing in Portuguese, starting off slow but then enlivened by her passion filled vocalizations. Produced by jazz producer Orrin Keepnews, this features the artist more lucid and joyful than some of her other work. For the reason it is recommended.

Bobby Womack - Midnight Mover: The Bobby Womack Collection

Midnight Mover: The Bobby Womack Collection is a double-disc set offering 44 tracks from Womack's 1968-1976 stint with United Artists and its related labels. Early selections like "I'm a Midnight Mover," "I'm in Love," and "Broadway Walk" all have Womack feeling his way with producer Chips Moman. After parting ways with Moman, Womack himself became one of the more skilled and inventive producers in the Muscle Shoals tradition. "That's the Way I Feel About 'Cha" and "I Can Understand It" both have plaintive melodies and are punctuated by Womack's guitar skills plus his ever-broadening vocals. Disc two covers the years 1973-1976, during which time he had become an even bigger star with albums that were sagacious ruminations on love and life. From an effortlessly revamped and rock-fueled "Nobody Wants You (When You're Down and Out) to his perfect cover of Sam Cooke’s "That's Heaven to Me." Womack's interpretive skills were only matched by his rootsy yet polished productions. After the frisky "Check It Out," Womack seemed preoccupied with the darker side of love with a little religion on the side to confuse things. Tracks like "Jealous Love" and "Interlude #1/I Don't Know" have the message and meaning slipping through his fingers. Midnight Mover is a flawless anthology.

War - Anthology 1970-1994

WAR was one of the most talented and rhythmically savvy groups of the ‘70s and beyond. This 1994, 2 CD, 32 track set covers most of the highlights of the group from 1970-1994. The earliest tracks of this feature WAR as the backing band for Eric Burdon. The Burdon era tracks, "Tobacco Road", "Spill the Wine", and "They Can’t Take Away Our Music" are fine yet non-essential in the scheme of WAR’s immense catalog. "The World Is a Ghetto" and "Slippin’ into Darkness" both eerily and brilliantly paralleled the emotional bleakness felt by many of the time. "The World Is a Ghetto, the perfect "The Cisco Kid", "Me and Baby Brother" and a great live take of "Ballero" are all here in their superior single versions. Unlike many compilations, the second disc doesn’t show the group past its peak. The subtly political "Why Can’t We Be Friends", and the contagious fun "Low Rider" find the group at its sales zenith. If anything, Anthology 1970-1994 proved the band became more interesting and daring as the hits diminished. Tracks "LA Sunshine" and "Galaxy" found the band delving even more into complex rhythms. "Youngblood (Livin’ in the Streets)" and an edit of "This Funky Music Makes You Feel Good" are included from the often forgotten soundtrack, Youngblood. The later tracks, the great "Outlaw", "You Got The Power", and "Cinco De Mayo" have the beats all but driving the most polyrhythmic resistant to repeated plays. With its great packaging, reminiscent of their 1973 album Deliver the Word, Anthology 1970-1994 is a brilliantly remastered, essential overview of WAR’s impressive work.

Al Green - Al Green Explores Your Mind

By the time of 1974's Al Green Explores Your Mind, this version of the Memphis sound was the production style for only a handful of artists. Producer Willie Mitchell used a lighter touch for his most famous artist, and it's all but crafted into the Al Green sound. Despite his skills, Green never falls into mannerism here and gives heartfelt and cogent vocals rooted in intelligence and technique. "Sha-La-La (Make Me Happy)," although lyrically slight, has the artist's charisma and Mitchell’s pop chops. "Take Me to the River," with perfect backing from Hi Rhythm and a horn and string arrangement, finds Green at his most persuasive. The last track, "School Days," has Green longing for a school girlfriend and despite the potentially sappy sentiment, it works like a charm. The greatness of Al Green Explores Your Mind comes from a collective effort, including James Mitchell’s dreamlike string arrangements and the always skilled backing vocals of Rhodes, Chalmers, and Rhodes. But the biggest draw here is Green's phrasing and intimate vocals, making the record an extremely strong effort.

Phyllis Hyman -You Know How to Love Me /Arista

As a vocalist even at this point, Phyllis Hyman was one of R&B and Pop's most charming, talented, and affecting singers. Released in 1979, You Know How to Love Me was Hyman's' first full-fledged Arista effort. It was produced by James Mtume and Reggie Lucas, who had previously wrote gems for Roberta Flack and Donny Hathaway and did great production jobs for Stephanie Mills; and they made a great fit for Hyman. The title song personified the unaffected and fresh sound of their production style and became Hyman's biggest single. Although known for her maturity, You Know How to Love Me contrasted with her other work is often blithe and unforced, with a "girlishness" she often didn't exhibit. The melodic "Some Way" captured a clarity and sexiness in her voice that no other producers captured. That also helps the derivative tracks "Heavenly" and "Hold On" to coast on the sensual qualities of her voice. "But I Love You" is one of her finest and most understated ballads. The last track and the best of the songs Hyman picked out for the album, the soothing "Complete Me," features Gary Bartz's sax solos. Although You Know How to Love Me had been available as an import, in 2002 Arista/BMG Heritage reissued the album with a 1977 bonus cut included. Whether it’s the original, the import or an 8 track, this is one of Hyman’s finest albums.

Average White Band - Essentials Rhino/Warner/Atlantic

Essentials was released in 2002, during a time when compilations weren't exactly a rare commodity. To make its presence a little better, Essentials was only one of two Average White Band compilations released domestically since their 1992 best-of. Luckily for consumers and compilers, the AWB catalog is so foolproof; a good compilation is almost assured. The best songs remain the ones from their classic self-titled album from 1974. "Picking Up the Pieces" and "Person to Person" display their J.B.'s-influenced rhythm scheme. The great "Got the Love" and "Work to Do" also feature the strong vocals of guitarist/bassist Hamish Stuart and bassist/guitarist Alan Gorrie and their effortless chemistry. After the 1974 cuts, AWB never really sounded as quirky or charming again. They did remain good to great, though. With drummer Steve Ferrone replacing the late Robbie McIntosh, tracks from Soul Searching, including the title "Queen of My Soul" and the phenomenal "A Love of Your Own," prove that point. Tracks from 1975's Cut the Cake and Feel No Fret's "Walk on By" are the only ones that didn't wear all that well. Despite the track list, Essentials doesn't tell the whole story, though. This set includes nothing from Warmer Communications or the clunky Benny & Us. Although it’s a good try, Essentials isn’t as cohesive as earlier, better compilations or the ’74-80 regular releases.

Blue Magic - The Best of Blue Magic: Soulful Spell

Released in 1996, The Best of Blue Magic: Soulful Spell typified the pros and cons of compiling a set from one of '70s R&B's best acts. It should be easy. During its 1972-1989 run, Blue Magic always had a fierce and devoted fan base and at least 30 essential songs to choose from. The thing that weighs this set down is the omission of quite a few of those tracks. However, the majority of what's here can't be argued with. "Sideshow," "What's Come Over Me," and "Look Me Up" are all powered by Ted Mills' uncommonly strong falsetto and Norman Harris' earthy yet ethereal productions. This set offers essential tracks from 1975's great 13 Blue Magic Lane. "Loneliest House on the Block," "Haunted by Your Love," and "Chasing Rainbows" are all suitably creepy and sweeping. If anything makes this CD less than great, it's the single edits of album favorites like "Spell," "Look Me Up," and "Chasing Rainbows." The diminishing quality of the post-1975 work doesn't help either. "Teach Me (It's Something about Love)," and "Freak-N-Stein" are as deplorable as the core tracks are sublime. The Philip Bailey co-written EWF clone, "I Waited," the retro "Land of Make-Believe," and the synth-heavy "Magic #" are all textbook flops. Fans will note that essentials like "You Don't Have to Tell Me Goodbye" and 1989's "It's Like Magic" didn't make it here. Sure, most of the work here is great, but a few key inclusions would have made it definitive.

Strange Games and Funky Things Vol 3. / BBE Records

With many consumers all but giving up on often dubious domestic R&B compilations featuring '70s and '80s R&B and jazz tracks, BBE was an English label that went the extra mile. The Strange Games series became the label's most successful sets. The 2001 three-CD set, Strange Games & Funky Things, Vol. 3, is no exception. Compiled and mixed by DJ Kenny Dope, this has 23 tracks, some hard to find, others not, most are essential. The mixed CD here is particularly potent. Don Blackman's always great "Holding You, Loving You" is employed the best here. Dope also groups and reconfigures prime Roy Ayers tracks and productions "Love From the Sun," "Everybody Loves the Sunshine," and Ramp's gorgeous "Daylight." Unlike DJ Spinna's take on tracks on Strange Games and Things, Dope seems a bit tentative to really "play with" most of the songs on the mixed CD. Marvin Gaye's effortlessly funky "T Plays It Cool" all but begs for some scratches and deft edits yet receives none. The unmixed CD's are bogged down due to the fact of readily availability and or ho-hum nature of some of the songs. The tracks from Parliament are readily available elsewhere. The set's title track Love Unlimited Orchestra's "Strange Games & Things" isn't so "rare" anymore. Other tracks like Jerry Butler's "I'm Your Mechanical Man" and Rufus & Chaka's "What Am I Missing" weren't that great to begin with. All in all, Strange Games & Funky Things, Vol. 3 is an enjoyable set, but it lacks the sense of fun and wonder to be definitive.

Marvin Gaye - I Want You Universal/Motown

Together with Leon Ware, Gaye created 1976's I Want You. Some of these tracks were to go on Leon Ware's Motown debut, Musical Massage, until Berry Gordy got a listen and decided that they'd be even better for Gaye, as the artist had not released a studio album since 1973's Let's Get It On. The title track to I Want You was the album's most successful effort, but certainly not the best. Like many of his albums, I Want You has Gaye's peaks not so much coming from the singles but rather the album cuts and the totality of the effort itself. Not that all of the lyrics and intentions here are crystal clear, though. In fact, Gaye does sound somnolent in spots, and it gives credence to the rumors that he did some of the tracks lying on a couch. "Come Live With Me," produced by Ware and Hal Davis, is the most focused track here. The refined and atmospheric "Feel My Love Inside" has Gaye giving a commanding upper-register vocal and has some doo wop backing vocals thrown in for good measure. To most fans, I Want You probably sounds unlike anything Gaye recorded. They're not wrong. In fact, this has the feel of a Leon Ware album with a more persuasive voice on top. "Since I Had You" typifies that idea as Gaye skillfully maneuvers through Ware's compelling and complicated arrangement, and he puts an accent on notes that other singers wouldn't even think to. I Want You is one of Gaye's best albums, and the production set a standard that few have been able to match.

The Whispers - Greatest Hits Right Stuff/Capitol

By the time this was released in 1997, the Whispers had a few compilation albums on the market, but this was better. Greatest Hits covers the group's stint on Dick Griffey's Solar Records during the years 1974-1992 in a coherent fashion. Although this misses the classic "What More Can a Girl Ask For," Greatest Hits makes up for it by including both "Living Together in Sin" and "(Olivia) Lost and Turned Out." The heart of Greatest Hits is the Whispers' 1979-1987 work with Solar. The first big hit, "And The Beat Goes On," written and produced by Leon Sylvers, was a perfect song to bridge the gap between disco and the synthesizer R&B of the coming decade. That style is apparent on the best tracks of Greatest Hits. Other Sylvers-produced tracks, "It's a Love Thing," "In the Raw," and the perfect "Keep on Lovin' Me," more than retain their punch and danceable appeal. Later tracks "Contagious" and "Tonight" suffer from synth overload. Unlike many greatest-hits sets, this has the group gaining momentum near the end of the effort. The innovative "Rock Steady," produced by L.A. Reid and Babyface, gave the group its biggest hit. By the late '80s, the Whispers eased into a more pronounced balladic approach. Gary Taylor's melodic "My Heart Your Heart" and smooth "Is It Good to You" boast the smooth production values of the group's trademark romantic early-'90s sound. Despite a few omissions, Greatest Hits more than works as a substantial overview.

by Jason Elias

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