Although Idris Muhammad was employed as a sideman on his share of soul-jazz sessions in the '70s, the drummer hasn't been terribly visible as a leader. So it came as a pleasant surprise when, in 1993, he sat in the driver's seat for My Turn, a decent collection of jazz-pop, soul-jazz, and R&B employing such big names as Grover Washington, Jr. (tenor and soprano sax), Randy Brecker (trumpeter and flügelhorn), Hiram Bullock (electric guitar), and Bob James (electric keyboards). Not unlike the type of project Muhammad would have gone for in the '70s, My Turn is far from straight-ahead hard bop but isn't a so-called "elevator jazz" date either. R&B, pop, and funk considerations are emphasized, but not at the expense of improvisational freedom. Washington and Brecker get in some inspired solos on tunes ranging from pianist Neal Creqe's funky "Dracula" to Washington's congenial "Happenstance," and Muhammad does a nice job combining pop and soul's accessibility with jazz's spontaneity. Those who like their crossover meaty instead of fluffy should enjoy this CD.

Idris Muhammad's House of the Rising Sun is a legendary soul-jazz album, and for good reason. First there's the fact that, Grady Tate notwithstanding, Idris Muhammad is easily the greatest of all soul-jazz drummers. Next, it is revealed that label boss and producer Creed Taylor was at his most inspired here, and wasn't afraid to err on the rhythm and blues side of the jazz equation. The material is top-notch, and David Matthews, who orchestrated and arranged this date with the exception of one track – "Sudan" was written by Muhammad and Tom Harrell, and Harrell arranged it – was on fire. As a bandleader, Muhammad is shockingly effective. Not because one could ever doubt his ability, but because of his reputation as one of the great studio drummers in jazz.

Accompanied by Hiram Bullock (guitar), Cliff Carter (keyboards), Wilber Bascomb (bass), Jeremy Steig (flute), and others, Idris Muhammad ventures into the world of pop and R&B, annoying die-hard jazz fans. Limp and uninspired vocals hurt "Could Heaven Ever Be Like This," but the track is good and could have stood alone with instrument(s) replacing the vocal parts. If you like African rhythms underneath a haunting flute, then you'll love "Camby Bolongo" - Sue Evans supplies percussions and Randy Brecker provides a searing trumpet solo.
"Turn this Mutha Out" offers some dynamic interplay between Bascomb's funky bass vamp and Bullock's compelling guitar work. The tune landed on the R&B chart in the States and got considerable airplay in Britain…