Carmen 1983

Trends in African-American music changed considerably between Anita Baker's first taste of national exposure in 1979 (when she was a member of Detroit soul band Chapter 8 and sang lead on the hit ballad "I Just Wanna Be Your Girl") and her debut solo album, The Songstress, in 1983. While 1979's black music charts were full of large funk bands, standup vocal harmony groups, and disco divas, rappers and techno-funksters like the System were very much in vogue in 1983. Instead of following trends, Baker excelled by doing what she does best: gospel-influenced, '70s-type soul/pop with jazz overtones. The Songstress, released by the small Beverly Glen label and reissued by Elektra in 1991 is her best album.

Carmen McRae's tribute to Nat King Cole (which predated the late-'80s revival of Cole's music) has its strong and weak points. She wisely adds Cole's former guitarist John Collins to her regular trio and picked some fine material (including "I'm an Errand Girl for Rhythm," "I Can't See for Lookin'" and "Just You, Just Me"). However McRae's phrasing is much different than Cole's and why did she sing "Sweet Lorraine" without changing any of the words? Despite those reservations, this set has enough strong moments to justify its purchase.

After the overwhelming success of Vladimir Horowitz live at Carnegie Hall, Sony Classical presents Vladimir Horowitz: The Unreleased Live Recordings 1966 1983. This edition takes you on tour with the legendary pianist from his home town of New York to the great halls of the USA, from New Haven to Chicago, Washington D.C., Philadelphia, Boston and beyond. This special collector's set features 13 programs recorded at 25 solo recitals in 14 different concert halls.

Within a refined setting of easy listening pop ballads and lightly funky up-tempo selections produced by Al McKay, Henderson proves himself an assured vocalist with mastery of clarity and phrasing. The problem here is the material isn't challenging enough – it's often formulaic and derivative of other early-'80s releases. Even a contribution from Stevie Wonder, "Crush on You," wanders into oblivion. But the singer's debonair tone and elegant, polished diction makes the weaker sound stronger. A perfect example is the mid-tempo "I'd Rather Be Gone," which suffers from a sleepy melody and clichéd rhythm arrangement.