| The music on Pamela Williams' latest album, Evolution,
is polished, sophisticated, and sexy; in short, everything smooth
music fans are going to want to hear. Williams is fast becoming
one of the instrumental music scene's most popular saxophonists,
breaking into the male-dominated area ruled by Dave Koz, David Sanborn,
and Joe McBride.
Pamela has a lot of experience in the R&B field, where she's
worked with many of that genre's top performers, including Prince,
Patti LaBelle, Babyface, and Teena Marie, and it is that experience
that informs her work on this album. Evolution is as much
an R&B album as a smooth jazz album. For example, listen to
the track "Placero" with its Latin percussion and soprano
sax that wouldn't sound out of place on a Sheila E. recording,
or "5ive Minutes" with its soaring trombone solo and
vocal group harmonic delivery. In fact, there are a lot of vocals
on the album. Pam herself sings on "Placero", "At
the Concert", and "Thinking About You", revealing
an intimate, sensual voice. Other vocalists featured include Teena
Marie ("I Am Love"), and Tara Ellis ("Poison").
As a contemporary R&B album, Evolution is pretty cool.
You get the obligatory smooth jazz anthem ("Lifeline")
awash in the influence of Grover Washington Jr., one of Williams'
earliest influences. "Grover's my idol," says Williams.
"He laughs when I tell him that I learned to play the saxophone
listening to his records, but it's true. I'd listen to Mr. Magic
or Live at the Bijou and copy his solos. I think that when an
artist finds his or her own style, it comes from having so many
different influences. I loved everyone from The Crusaders to The
Ohio Players." Certainly, anyone with an interest in the
sax who grew up at the time when Washington unleashed "Mr.
Magic" on the charts could hardly help but take notice of
the smooth, romantic sound that he pioneered.
Evolution has a loose Egyptian theme, which again puts
one in mind of much of the R&B music of the '70s, particularly
the smooth ballads, horn arrangements, and funky sounds of Earth,
Wind, and Fire. Overall, though, it's hard to find a unifying
theme on the album other than the music itself. "Song For
Pam", written by fellow saxophonist Gerald Albright, lets
loose Williams' soprano sax, and though it's a pleasing number,
there is little to distinguish her soprano work from that of other
smooth artists, most notably Kenny G. Alto sax, though, is another
matter--here Williams has a beautiful tone that can range from
the sharp studio sound of David Sanborn to a more soulful funk
reminiscent at times of Cannonball Adderley. "Queen of the
Nile" in particular makes great use of her talent on this
instrument, with an overall sound that recalls the very best work
done in the soul jazz and romantic jazz vein (back before the
term "smooth jazz" had even been coined). "The
Dance" also provides some nice moments as Williams kicks
back and cuts loose with some hot soloing.
Williams is clearly talented on many fronts, and I seriously
doubt that she'll remain in the "smooth jazz" format
for too much longer. Evolution points pretty strongly to
a desire and ability to work (and sing) in a more standard R&B
format, and I think that Williams will be given the opportunity
to go in that direction if that's what she desires. I'd hate to
think, though, that there could come a time when we'll be denied
the pleasure of the alto sound she demonstrates on some of this
album's tracks. Certainly it would be a loss for those who like
the sultry sophistication to be found on Evolution.
--Marshall Bowden--
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