Doc Powell

After an almost-two-year hiatus from the charts, the Queen of Soul returned in style with three Billboard R&B Top Ten singles, including the number one smash hit "Freeway of Love," which featured a festive rhythm arrangement, an electric sax solo by Clarence Clemons, and Aretha Franklin's lively vocals. It held the number one spot for five straight weeks. The title track, "Who's Zoomin' Who," has a sputtering bassline and chiming keyboards augmented by Franklin's soulful delivery, and her improvised ad libs are laudable, to say the least. The single peaked at number two for four consecutive weeks. She had another Top Ten hit with "Another Night," a midtempo number with a light rock feel.

In 1982, Ms Franklin hooked up with Mr Soul himself, Luther Vandross, for a 2 album deal, the first instalment being "Jump to It". With legendary bassist Marcus Miller providing the rhythm section, Luther's Midas touch as producer, and Aretha on form vocally, the result was an awesome album that has stood the test of time.

Lonnie Liston Smith entered the 1980s with Love Is the Answer, which is quite similar to previous Columbia efforts like Exotic Mysteries and Song for the Children. Jazz's hard-liners continued to call Smith a sellout; as they saw it, a musician who was talented enough to have been employed by the likes of Pharoah Sanders, Betty Carter, and Rahsaan Roland Kirk had no business becoming more commercial and catering to the quiet storm audience. But while Love Is the Answer isn't as challenging as Smith's work with Kirk and Sanders and isn't in a class with such Flying Dutchman gems as Astral Traveling and Expansions, it isn't a bad album either.

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.

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."

The least enviable aspect of being a successful artist in this genre is no doubt trying to meet three sets of expectations. First, there's the ongoing desire to evolve disc to disc and challenge oneself creatively. Then, there's heeding the criticism of purists and cynics who may hold a kernel of truth when they say your music's a little lightweight. And finally, the matter of not straying too far from everything that's proved magical and successful in the past, lest you alienate your precious supporters. How to strike a balance between all three? Ask Gregg Karukas, whose melodic touch and diverse sense of style have bound him from first generation Rippingtons circa 1987 to one of this decade's most popular performers.

Rhino repackaged and re-released five George Duke LPs on Warner Bros. – Snapshot, Illusions, Is Love Enough?, After Hours, and Cool – as a slipcased box set. It's not a bad way to acquire the albums if you don't already own them, but isn't recommended for the casual fan.