Doc Powell

This Real Gone Music reissue in association with SoulMusic Records marks the worldwide CD debut for both albums, featuring liner notes by noted American journalist Rashod Ollison.

By the time Norman Connors had left both Buddha and Arista in the early '90s, he spent some time touring and reviewing his career. Easy Living, released by Motown in 1995, is a full-on entry into smooth jazz territory. While Connors still insisted on employing vocals in tunes that looked toward sophisticated nu-soul, it seems that his primary interest was in narrowing down the once rainbow-wide meld of style on which he'd built his reputation as an innovator. Easy Living is a pleasant and at times engaging listen, with pristine production by the artist, violinist Jheryl Lockhart, and pianist /arranger Herman Jackson.

Don't expect too many surprises from Kirk Whalum's Hymns in the Garden if you're familiar with his previous few gospel-tinged albums like Unconditional and The Gospel According to Jazz. Like those two albums, Whalum goes out of his way to invest a considerable amount of spiritual sentiment into his candy-coated crossover jazz. On this particular album, the religious overtones come via the song titles, "I Will Trust in the Lord," "Christ Is All," and "I Want Jesus to Walk With Me" being three examples.

Albums came less frequently from Stanley Clarke in the 1990s as film scores took up more and more of his time. Not only that, the ideas and functions of film music play a large role in East River Drive, where selections come as often as not in the form of cue-like vamps, as well as two actual themes from Clarke's scores for the films Poetic Justice and Boyz N the Hood. Oddly enough, Clarke's music benefits from his film immersion, for his compositional ideas are sharper and more sophisticated here, and he applies them to a range of electric music idioms.

Urban Network declares “Kevin Toney has proven himself to be among the most masterful and versatile keyboardist of his generation, playing with a technical proficiency that is at the absolute peak of the contemporary jazz game.” Billboard Magazine notes “Toney's piano skills and ear for melody set him apart from the pack and make him enjoyable and engaging."

"…a somewhat eclectic collection of urban funk-to-jazzy pieces which benefit greatly from his arranging and production wizardry….dark orchestral effects combined with roots percussion elements, acoustic strums and even laser blast effects…" JazzTimes

It seems a paradox to peg the singular transcendental moment of Patrice Rushen's very contemporary Signature as the one tune where acoustic jazz sensibilities take over. But without the kick starting impact of "L'Esprit De Joie," a perfectly titled free for all featuring Gerald Albright's roaring alto and real ivories instead of keyboards, this would be simply another typical – albeit well performed – slickly produced radio ready affair.