Although it lacked a hit single to match "Poetry Man," Phoebe Snow's second album was another folk-pop-jazz confection that effectively showcased her one-of-a-kind voice in musical settings featuring the cream of New York's session musicians, and produced by Phil Ramone. It was a classy job on which Snow contributed seven originals and displayed her versatility on covers ranging from Motown to Gershwin.

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.

BJ 4 starts off promising with a flugelhorn solo from the great Art Farmer, but the music soon sinks into pure commercialism. Bob James' keyboards are always prominent, as are the rather mechanical rhythms churned out by bassist Gary King, drummer Steve Gadd, and percussionist Ralph MacDonald. Although there are some catchy moments, the six selections (which all clock in between almost five and almost seven minutes) never seem to travel anywhere. Farmer, flutist Hubert Laws and guitarist Eric Gale have short solos that are primarily used as props and for contrast before James takes back complete control. The occasional strings and woodwinds make the light funk music here seem a bit Muzaky, so this is one to skip.

Katie Melua's debut album, Call Off The Search, instantly established her as a remarkable new talent. Celebrating its 20th anniversary this year, the album showcased her unique vocal style, blending jazz, blues, and folk influences with contemporary pop sensibilities. The album was co-written and produced by Mike Batt, who played a crucial role in crafting the album's lush and sophisticated sound.
The central theme of Call Off The Search revolves around love and self-discovery, expressed through a collection of heartfelt and introspective songs, including lead single, ‘The Closest Thing to Crazy,’ which immediately captured audiences worldwide with its emotive delivery and captivating melody…

Recorded in 1971, shortly after he departed Cadet where he served as a house sideman-playing on dozens of records and a prefferred guitarist for Curtis Mayfield and Jerry Butler, Phil Upchurch headed for the West Coast and Blue Thumb Records. Produced by Tommy LiPuma, Upchurch's Darkness, Darkness is his quintessential (double) album, full of laid-back funky grooves, elegant, mind-blowing guitar work, elegant string and horn arrangements, and fine Fender Rhodes work from Donny Hathaway with legendary session bassist Chuck Rainey and smooth jazz piano great Joe Sample in the house. Upchurch effortlessly walks the line where jazz, blues, rock, soul, and funk fold into one another, yet he never gives quarter in the process.

Somewhere in between living with Peaches, playing guitar with By Divine Right, rapping with Chilly Gonzales, and singing with Broken Social Scene and Apostle of Hustle, Canadian songstress Feist started a solo career. Following up 1999's self-released Monarch, Let It Die was recorded in Paris between 2002 and 2003. The romance of the City of Lights glows throughout as a combination of folk, bossa nova, jazz-pop, and indie rock finds its place among the 11-track song list. She'll woo you with her sultry vocals throughout, a delicate and sweet voice that feels cozy. From the warm shimmy and shake of "Gatekeeper" and "Mushaboom" to the classy R&B grooves of "One Evening" and "Leisure Suite," Feist explores various musical worlds without getting lost. She reels you into different soundscapes and it's an exciting adventure.

After years of producing albums which were more pop/funk than jazz oriented, George Duke simmers down, leaves off the R&B vocals, and takes a little creative license on the self-proclaimed "mood record" After Hours. While his recent Muir Woods Suite showed off his affinity for classical music, here he's at his best on the meditative Vince Guaraldi-type trio ballads "Together as One" and "Sweet Dreams," which glide along on the improvisational and gently swinging graces of Christian McBride and Leon "Ndugu" Chancler. A whole project in this vein would have been welcome, but Duke charters other new territory, too; on the easy grooving "The Touch" and the almost new agey "From Dusk Till Dawn," he borrows the actual Rhodes from Joe Sample but winds up perfectly simulating Bob James' "Taxi" vibe, especially on the exploratory solo on the latter tune. The untrained ear might swear it's an actual James recording, but Duke's a clever enough producer to go beyond strict imitation. "The Touch" achieves an intriguing low-toned brew, as Sheridon Stokes' bass flute melody drifts gently over a hypnotic weave of Larry Kimpel's bass and Duke's Rhodes.