The Artistry of Rahsaan Patterson
It has been nearly 8 years since the accident that caused me to discover the artistry of Rahsaan Patterson.
Back in the 90’s, as a singer and songwriter with a toe-hold in the business, I read trades and other music-based magazines. I had seen Rahsaan Patterson’s picture in passing, but did not buy his debut album when it was released in 1997. He was one of the artists being touted in the “Neo-Soul” category/publicity moniker. I recall the video to ”Where You Are”. I didn’t bite, for some reason. Life’s trajectory must be positioned correctly in order for one to truly dig certain experiences that may be encountered, I guess.
Two years later, I stumbled by chance across a song called “Any Other Love”. Caught the artists’ name. “I gotta check that out”, I thought to myself. About a week later, I hear the same artist, this time singing “Get Here”. Same album (by the way, thank you Music Choice!). That did it. Later that same day, I’m at the house of my friend, and I ask him if he knows who Rahsaan Patterson is. “Yeah, I got both his albums”. He GIVES me the debut, saying he’s run his course with it, but won’t part with hs new album, LOVE IN STEREO.
I literally went straight to Circuit City after leaving, and picked up LOVE IN STEREO. I should have listened to the debut first; I’m a slave to chronology. This story might have been quite different if I had. But I wanted to hear “Any Other Love”, so I popped LOVE IN STEREO first. And…that was it. It took me a cool 3 weeks to get to listen to the debut. I was stuck on “Sure Boy”, “Friend of Mine, “Humor”, “So Right” and so on. I was sold. I was suddenly telling everyone in earshot about Rahsaan Patterson, the Mad Genius of R&B.
Okay, that was a long setup, but there is a reason. When I was a kid, rarely a day went by that I didn’t hear something on the radio that got me excited. Spoke to me about the possibilities in music. I don’t hear it too much these days, sad to say. And his was one of those moments. And it feels good to say that, on his fourth release, that same artist has released perhaps his most rewarding collection to date. Mind you, this is not a straight-up review. Just a testament to the power of music that resonates on more than a surface level.
In the last 8 years, Rahsaan has released one album, 2004’s AFTER HOURS. This was a welcome addition to his canon, yielding many favorites of mine (”So Hot”, “Burnin’”, “April’s Kiss”, and especially “Sometimes (You Gotta Let Go”)). But with his new album, WINES & SPIRITS, it feels as if a thread between LOVE IN STEREO has been bridged, intertwined with both artistic growth, progression and the growth that life changes can’t help but bring.
The album begins appropriately enough. “Cloud 9″ doesn’t begin- it fades in. The experience is already underway, it seems- jump on in. The atmosphere is comfortable and familiar, Rufus-esque. “There ain’t gonna be no downtime”, Rahsaan informs us. A great track, and a lyric that’s a harbinger for things to come.
“Delirium (Come and Goes)” seems to be getting alot of buzz from folk (it’s the only track besides first single “Stop Breaking My Heart” that’s been posted on youtube). As a hallmark of Rahsaan’s work, he wears his heart on his sleeve in the lyric. “Not trying to be cool, I’m hopeless and lonely for you”, he declares. It might be the frantic, remix-friendly production that’s adds the extra edge for people, but the overall tone of the track is a map of desperation, in its’ sweetest form.
“Feels Good” will appeal to those who have been hooked to a integral facet in Rahsaan’s work. In short, he can deliver a report on the greatest aspects of love or heartache, and package it in such an unaffected, ingratiating work, one in which you can’t help but crumble within its own delights.
“No Danger” finds Rahsaan in a less organic, more ethereal environment, one which will house much of the disc. The lyric and vocal are both reassuring in the promise that something beautiful will prevail. It’s a sentiment not shared with the next track. “Pitch Black” is a great song, not only because it challenges conventions within some man-made confines of what a ‘genre’ should entail, but because it harshly addresses an artists’ feeling, in a manner that is palatable and relatable. It deserves a repeated spin, on first listen.
On “Time”, featuring Johnny Onyx, he finds a balance. With Hip Hop as a catalyst, all feelings, sights and sounds are bared. As the hook suggests, all is ultimately uncovered, and Rahsaan’s emotive voice is the one to deliver the news.
This brings us to the albums’ leadoff single, “Stop Breaking My Heart”. I’ll be honest in saying I didn’t immediately appreciate this song. At first listen, it doesn’t really deviate from what some may classify as a ‘classic Rahsaan Patterson cut’. But it deserves further consideration. The song plays much like the final declaration of a heart that has endured many struggles. At this point, every aspect of the track works in conjunction with past experience- there’s a finality in the hurt, up to Rahsaan’s own impassioned screams near songs’ end…
On “Water”, those same feelings are explored on a much more adventurous landscape. The same climate of contemplative desperation permeates. “Lifesaver please…is there anyone there to sense my need”, he wonders, while all around him, down to his own musings, suggest he’s on his own. For all its’ lyrical restlessness, the track floats on such a lushly thoughtful production that it never dares to bog us down.
The opposite is true with the next song, arguably the album’s best cut, “Deliver Me”. A moment of dour lament is not permitted- the song launches into a infectious, uptempo groove, to which Rahsaan’s falsetto politely informs “gotta get away from you”. Those are the opening words, and he could be addressing any number of things. But by the time the soaring, unexpected hook comes in, it doesn’t matter. This is where the true artistry of Rahsaan Patterson comes into play. Regardless of the circumstance, that pained plea of the hook- the simple “deliver me, oh love”- cuts through to somewhere deeper than it may have seemingly intentioned. Let its impact sink in, then listen again. Listen to those ever-ascending keys during the lyric, “escape to love, make way for love, in space, my love…” It’s a trip and a half forward.
Keeping this same agenda, the next track, “Oh Lord (Take Me Back)” might seem a basic excercise in returning to one’s spiritual roots, but the song has as much to do with the understanding those roots. Rahsaan has rarely sounded more spirited. Likewise, on “Higher Love” he confidently asserts a reason for renewal, under more contemporary surroundings. These 2 tracks could be used as examples of how an expression of praise, of joy, can be presented on the most disparate of platforms, despite the source of its’ own prompting.
The set closer, Janis Ian’s “Stars”, is appropriate in that its’ own musings- confused, unclarified, open-ended- mirror the sentiment of the whole album. “And all you see is glory”, he concludes. The lyric relates to the paradox of our stars, but there is, of course, a parallel to the balance in Rahsaan’s own observations.
WINES & SPIRITS stands as witness that there is still an outlet for music to take adventure, to relate, yet influence. It is means of mutual release and ingestion. And this man, the “Mad Genius of R&B”, as I once called him, has once again allowed his soul to reflect the conscious need and awareness in all of us…
my only hope is that the rest of the world will wake up to the artistry of Rahsaan Patterson, already…
ALBUM REVIEWS: James Day’s “Better Days” and Victor Valente’s “New Life”
This week I had the opportunity to hear new albums by two artists whose work and reputations are currently gathering steam. While their respective styles and approach have fundamental differences, their shared homebase (Massachusetts) and passion for their art warranted a dual review.
Remember those days, in the prime of the ‘Quiet Storm’ era, when Quincy Jones would assemble a barrage of great talent, and showcase them to maximum effect on an album? That was only one nostalgic aspect of many to be found on songwriter James Day’s new release, BETTER DAYS. It seems I’m not the only one pining for those days.
While Q had the likes of Patti Austin and James Ingram at the helm of his songs, Day has put together a collection that gives a fresh crop of vocalists a lush, admirable springboard for their talents. One listen, and it’s obvious this is a guy who MUST have his songs delivered by a great singer, and no less.
And he finds them. The voice most constantly present (roughly half the album) is that of the terrific Audrey Wheeler, who skillfully navigates through uptempo (”Brick By Brick”, which somehow manages to be both inspirational AND sexy) and ballad (she’s particularly touching on “She’s Not the Girl”).
The other guests on the album are a credit to Day’s songs, as well. A bright, affectionate nod to those mid-tempo R&B cuts that Luther and Freddie Jackson excelled at is “Don’t Waste the Pretty”, featuring a commanding vocal from Jeff Ramsey (and a noteworthy background vocal by up-and-coming artist Anthony Dixon). Ramsey is likewise in fine form on “Can’t Argue Like This”, a duet where he is matched by Brown Baby Girl’s phenomonal Lorenda Robinson.
With additional contributions by Jill Zadeh and Catherine Russell (who provides a tender vocal on the wistful “Remember When”), among others, BETTER DAYS is overall a welcome album, for those who might also be pining for a time when music was simple, clear, and resonated strongly. Day proves that, sometimes, it still does.
On the other end of the musical spectrum lies saxophonist Victor Valente’s NEW LIFE, followup to his debut, OFF THE CANVAS. For those who had opportunity to hear that album, I cannot express enough that this is no sequel. Appropriately titled, OFF THE CANVAS played at times like a brief, Jazz Opera version of ROCKY, with all its’ grit and rough edges; a man fighting to bounce back, to conquer both love and the world, with the element of Valente’s Hip Hop-influenced past figuring prominently.
On NEW LIFE, Valente fashions a more polished landscape, without dispensing of the raw appeal that made OFF THE CANVAS an enjoyable listen. The artist is still evolving, but life experience has handed a greater sense of depth, of knowing. Few experiences change a person more than the birth of their first child, and Valente is no exception. This becomes obvious in the opening cut, “Nyjuan Lee” (named after his newborn son). Alone with his sax, outdoors, he could be busking, or just playing for his own pleasure. Regardless of the scenario, the mood is clear- joy.
The tone of his instrument is more contemplative and measured this time around, and as evidenced on cuts such as “Message From Heaven” and “To the Man Behind the Stars”, alternately mellow and charged. The album closer, “No One in This World”, sweetly veers toward the mellow, smoothly gliding off into the night (or day, depending on when you’re listening).
NEW LIFE features a more organic feel, largely through the participation of collaborator Peter Arteaga. It also has the same brevity that made OFF THE CANVAS compelling without straying into tedium. The result of all the effort involved is an enjoyable glimpse into the life of an artist who, as evidenced on NEW LIFE, has every reason to joyfully play on.
(James Day can be seen and heard at http://www.myspace.com/jamesdaybiz. His album is currently available at http://www.cdbaby.com/, and will be distributed through Ryko next month.)
(Victor Valente can be seen and heard at http://www.myspace.com/37710458. You can also visit his homepage, http://www.victorvalente.faithweb.com for show updates and info on his album release.)
American Idol and Soul
While it may be a phenomenon some music purists would like to forget about, the fact that we’re in the era of “Idol” is tough to overlook. It’s not the first TV talent search (remember “Star Search”, “Big Break”, even “The Gong Show”?), but in this age of instant everything, the prospect of instant stardom has proved to be irresistible. Irresistible for those pursuing it, and for those observing it, looking either for a new star or a trainwreck. Perhaps a bit of both.
Over the past six years, “Idol” has had its’ share of finalists who could be classified under the “soul/R&B” moniker. Many have moved on to other projects, with varying degrees of success. My main interest was determining whom, if any have made a significant contribution to the music with which they’ve been identified.
I missed Season One, but the only name that springs to mind is Tamyra Gray. Following “Idol”, she did acting on television, and scored a major deal. The album was somewhat disappointing- she does plenty of songwriting, which is greatly to her credit, but Gray’s album came across as- how can I put it- ‘nondescript’, maybe? That wow factor, that “damn, this is my new s***!” is missing.
Since then, you’ve had Trenyce, George Huff, LaToya London, and others whose names escape me. Trenyce has toured in Gospel plays, Huff released a small Gospel album, and the many others could be flipping burgers, for all I know. London, a great singer who I championed all along, released an indie album that brought mixed results. When she’s in her element (”State of My Heart”), she’s breathtaking. When she’s not (”Non a Watcha Do”), its disconcerting. Definitely a case where trying to appeal to different demographics is hit-or-miss.
To date, two of the winners, Ruben Studdard and Fantasia, fall into our category. Their work has also been a mixed bag. Studdard’s is particularly frustrating. Barring one major hit (”Sorry 2004″), he’s gotten more attention for his fluctuating weight than his music. But the two secular albums he’s released have been no great shakes- nothing new, with a predictable leaning towards the Urban market (am I the only person who is hates “would you still love me if I didn’t have yachts and mansions” songs?).
That leaves Fantasia. Blessed with an “either you love it or hate” voice, her work has also been, if anything, even more Urban, and also spotty, although their have been more bright spots (the title track to her debut album, “Free Yourself”) than not. But still, nothing that I’ve been tempted to keep on repeat.
Recent Oscar winner Jennifer Hudson is working on her first album, and blue-eyed favorite Elliott Yamin is about to drop his, so I haven’t given up hope…
But ultimately, after six seasons of waiting for the possibility “American Idol” may bring forth the next R&B Great, all I can say at the moment is, I’m still waiting…
Paid The Cost To Be Miss Ross
What becomes a legend most? For Diana Ross, it may be a fast-and-loose semi-biopic: big on glitz, if shaky on facts. With Dreamgirls fever sweeping the nation, curiosity surrounding the Supremes, particularly Ross, has been reignited. And with Diana’s first new album in nearly seven years, I Love You, recently released, perhaps a reassessment of her work and legacy should be considered. Unfortunately, unlike most of her peers, Ross’ musical contributions tend to be overshadowed by her reputation and personal drama, regardless of its basis in fact. What is usually overlooked is the impact of her emergence on popular culture.
In the 1960s the Supremes, led by Ross, presented an image of the modern black woman in America that had only been hinted at previously by the likes of Lena Horne and Dorothy Dandridge. As for the music, it is sometimes dismissed as lightweight pop by historians. But its popularity crossed all boundaries- how telling it is that, between 1964 and 1965, Billboard eliminated its’ R&B chart, as it was closely mirroring the Pop chart. It was during this period that the Supremes began their unprecedented run of five #1 hits (they would have 12 in total). And Ross’ voice- girlish, yearning, slightly nasal, cutting through the fuzz of AM radio and the immensity of Motown arrangements.
When Diana Ross went solo in 1970, it began an ascent to a new level. Films, TV specials, an Oscar nomination, Broadway- they all cemented Diana as one of the premier entertainers of her generation. Rather than viewing this as abandoning the black community, perhaps her accomplishments should be seen as bringing an aspect of success to blacks that had not previously been witnessed, as important in their own way as the strides of Jackie Robinson and Sidney Poitier. A combination of elements, however, has undermined all of this. Bad press, scathing tell-alls, and a mediocre tenure at RCA Records have cast a lingering shadow.
In the middle of all the madness, however, is the music. Overall, Diana Ross has produced a prodigious, if erratic, body of work. So, with her newest release upon us, here are some past albums you might want to track down:
DIANA ROSS (1970)
Highlights: the evergreen Ain’t No Mountain High Enough; Reach Out and Touch (Somebody’s Hand).
Hidden Gem: the desperate, pleading Dark Side of the World.
What to Avoid: really, nothing. Ashford and Simpson produced one of Diana’s most consistent albums.
DIANA ROSS (1976)
Highlights: Four singles released, with two classics, the sweeping Theme from Mahogany (Do You Know Where You’re Going To?), and the sexy Love Hangover.
Hidden Gems: the funky You’re Good My Child; the touching (if a bit maudlin) I Thought it Took a Little Time.
What to Avoid: the schmaltzy show tune Kiss Me Now. Blah.
THE BOSS (1979)
Highlights: the fiery title track; the cosmopolitan funk of It’s My House.
Hidden Gem: set opener No One Gets the Prize showcases Diana to her best advantage.
What to Avoid: Sparkle and I’m in the World bog the album down towards the end.
DIANA (1980)
Highlights: Chic-powered classics Upside Down and I’m Coming Out.
Hidden Gems: Diana’s wild take on the verses of My Old Piano; the reggae-lite Now That You’re Gone.
What to Avoid: not necessarily a bad song, Have Fun (Again) registers as simply mediocre.
SWEPT AWAY (1984)
Highlights: the poignant Missing You; the Daryl Hall-produced title track.
Hidden Gems: Diana’s self-produced Touch by Touch is fun and sexy, while Telephone has one of the densest beats she has ever worked on.
What to Avoid: the nightmarish New Wave of Nobody Makes Me Crazy Like You Do. Yikes.
TAKE ME HIGHER (1995)
Highlights: Diana has rarely sounded as free as she does on the infectious title track; the heartbreaking Gone could be the best track she recorded during the entire decade.
Hidden Gems: with Let Somebody Know, Brenda Russell provides Diana with a mature, tender lyric. The gorgeous I Never Loved a Man Before is also a winner.
What to Avoid: what should be a triumphant cover of I Will Survive is sabotaged by a lackluster arrangement and Diana’s vocal, which sounds like she’s performing at half-steam.
Performed by Rahsaan Patterson
Produced and composed by Jamey Jaz and Rahsaan Patterson
Copyright (c) 2007
Used by permission.
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