Tommy Mottola's discovery, French-language chanteuse Lara Fabian hits it big with her self-titled English solo debut. Packed with passionate love songs in the vein of Barbara Streisand and Celine Dion, Fabian takes the power ballad one step further. Dramatic is the best work to describe her voice and her music! The songs range from catchy tailor-made Top-40 dance tracks such as "Till I Get Over You", and "I Will Love Again", to the power ballads such as "Adagio", which appears here both in English and in Italian, and "You Are My Heart".

Fabian's voice is clear and amazingly strong, often ranging from almost a whisper, and then elevating to a powerful belt. The lyrics are non-offensive and inspirational in that broken-hearted sort of way. Fans of Celine Dion and Mariah Carey will find Lara Fabian the ideal addition to their record collections, and possibly the perfect replacement for the aforementioned artists.

Recorded in three days in 1971, this CTI recording has been lauded as one of George Benson's best releases. It also ranks among the label's best. A stellar cast of musicians--all in their best form--are featured on WHITE RABBIT, including Herbie Hancock, Ron Carter, Billy Cobham Hubert Laws and Benson's then young protégé, Earl Klugh.

Arranger Don Sebesky creates some of the most creative twists on the then popular songs "White Rabbit" and "California Dreamin" as well as on Hector Villa-Lobos' "Little Train", giving it a Jobim-like twist with some amazingly fast finger work by Herbie Hancock. The recording has a Spanish flavor to it throughout, as well as a mysterious, psychedelic tinge reminiscent of the time it was recorded. The players put forth the kind of energy that is found rarely in recordings, indicative of the short time span in which this CD was recorded. Benson does here the kind of guitar playing that makes him infamous to this day.

LOVE REMEMBERS succeeds as a pop album for George Benson, regardless of whether he's dishing out vocals or instrumentals. This 1993 recording produced by Benson himself, is not for traditional jazz fans, but rather smooth jazz or R&B fans who will enjoy the familiar smooth R&B and instrumental tunes. This is what Benson was going for and this is what he achieved.

Benson's take on "Somewhere Island" works as well as the original, and as is a common Benson trait, his vocal covers also simulate the originals almost note for note, as in "Kiss and Make Up." The synthesized back-beats are an unfortunate choice, but one '90s smooth jazz artists opt for and get away with frequently.

Bob James, Hubert Laws, John Patitucci, Phil Upchurch, Randy Brecker, Nathan East and vocalists Lisa Fischer and Brian McKnight all appear here, backing Benson up adequately on the 12 songs. Low points include the annoying vocal on the title track, and high points include the instrumental "Lost in Love", and the vocal "Got to be There."

With the help of his longtime friend and producer, Tommy LiPuma, George Benson scores a guitar heavy, yet commercially viable album with ABSOLUTE BENSON. Benson delivers guitar work here that is similar to what he did on his CTI releases of the '70s. His guitar licks are lyrical, logical and liquid, and his sparse vocals are also impressive.

ABSOLUTE BENSON kicks off with the Latin-flavored cover of Donny Hathaway's "The Ghetto" and follows with its companion piece, the Latin-flavored "El Barrio." Benson also covers material by Ray Charles ("Come Back Baby"), Stevie Wonder ("Lately"), and by guitarist Marc Antione ("Jazzenco"). Joe Sample contributes to the recording with the pieces "Deeper Than You Think", "One on One", and "Hipping the Hop", and Benson and Sample even team up on the composition of the funky album closer, "Medicine Man". Benson really seems to enjoy himself on this recording, and he seems to enjoy playing with the wonderful musicians that join him-Ricky Peterson, Christian McBride, Steve Gadd, Luis Conte and Roy Ayers, among others. ABSOLUTE BENSON solidifies Benson's place as master among smooth jazz guitarists.

A very personal project for George Benson, this album fulfills a promise he made to Count Basie before his death--that he would do a recording in Basie style. Seven years later, Benson stepped in front of the Count Basie Orchestra to tackle the difficult task of being both big band singer and lead guitarist on BIG BOSS BAND. The recording was, no doubt, quite the undertaking for Benson. The music is challenging to sing, and in spite of Benson's best efforts, he seems to have trouble keeping up on some of the pieces, particularly at the scat singing. He seems most comfortable vocally on Jackie Wilson's "Baby Workout". Other numbers worth noting are the romantic ballad "I Only Have Eyes for You", and a wonderful and well-blended duet with singer Carmen Bradford on "How do you Keep the Music Playing". The instrumental closing track "Basie's Bag", which features Benson doing his best on the fret board, is prime swinging Benson.

Arranged by Frank Foster III, with backing musicians that include Randy Brecker and Jon Faddis, as well as the incredible Count Basie Orchestra. A Big Band vocalist Benson is not; an excellent lead guitarist, he is, and with the outstanding musical selections and arrangements on this recording, he gets an "A" for effort.

Benson steps into the pop singer spotlight completely on this 1986 recording, as there are no instrumentals at all. WHILE THE CITY SLEEPS is made up of ballads, like the popular "Kisses in the Moonlight", the poppy title track, and dance tunes such as "Shiver", which is one of the better rhythmic tunes on the recording. Although Benson is still playing as lead guitarist on this album, his well-known fretwork definitely takes a back seat to his vocals and can best be heard on "Love Is Here Tonight".

As usual, Benson gathers several well-known quality musicians to accompany him on this vocal venture. Paul Jackson, Jr., Marcus Miller, Kenny G, and guitarist Chris Camozzi are featured. Unfortunately, the lack of a true percussion section can not be substituted by the machine programmed drums and rhythmic back beats that play so heavily on all the tracks on this album. WHILE THE CITY SLEEPS is, however, well produced and arranged by Narada Michael Walden, with additional production by Benson's long-time producer, Tommy LiPuma, and others. This pop album flows well, delivering some catchy beat driven music.

Another fine '70s release from pianist/arranger/conductor and composer Bob James. James truly established himself as an outstanding arranger with this recording, which includes such hits as Boz Scaggs' "We're All Alone", Peter Frampton's "I'm In You", Henry Purcell's gorgeous "One Loving Night" and the Billy Preston/Bruce Fischer hit "You Are so Beautiful". James works his magic with the help of David Sanborn, Grover Washington, Jr., and Patti Austin, along with a complete orchestra featuring a string, brass and woodwind section. Other notables on the recording are Michael Brecker and Eddie Daniels, who contribute to the woodwind section.

The end result is a recording that ranks among James' best. James' two original compositions, "Heads" and "Night Crawler" earned him considerable praise and respect as a solo artist, and fully demonstrate just how intricate his compositions can be. This CD can serve as an excellent introduction to Bob James for a jazz newcomer.

Bob James is joined, as is his style, by an all-star cast of musicians on his 1986 effort, Obsession. Steve Khan, Marcus Miller, Randy and Michael Brecker, saxophonists Andy Snitzer and Kirk Whalum, Jon Faddis and even vocalist Lisa Fischer all lend their talents to this R-&-B flavored recording. The seven tracks blend together smoothly in order to deliver the more packaged and produced sound of the Bob James of the '90s than the Bob James of the '70s.

In spite of James' obvious change in style, composition and production on many tracks, he still managers to deliver a unique fusion jam on several tracks including the title track, "Steady", which features a fine saxophone solo by Kirk Whalum, and appropriately titled late night jam, "3 A-M". Such selections as the sound-effect based "Rain", Rousseau and the Lisa Fischer vocal "Gone Hollywood" may fall flat for a fan of earlier Bob James.

David Sanborn's saxophone compliments Bob James' keyboards perfectly on the seven tracks on the appropriately titled DOUBLE VISION. The listener gets a wonderful variety of musical styles throughout those seven tracks too, thanks to the fact that Sanborn, James, a combination of both, and bassist Marcus Miller all contributed compositions to the album.

DOUBLE VISION opens on its highest note with the Marcus Miller track "Maputo". The lush and moody song highlights Sanborn's skills and sets the pace for the rest of the recording. Miller also penned the romantic "More Than Friends". James and Sanborn joined forces composing both "Moon Tune" and "Never Enough", and the more popular "It's You" is Sanborn's contribution to the CD, although James is prominently featured on the tune as well. Maputo remains the instrumental highlight of the recording, but the true highlight is the one vocal. Al Jarreau singing on "Since I Fell For You" will surely make any romantic fall for this album. This 1986 collaboration ranks top among contemporary jazz albums. If one word can sum it up, it is "romantic"!

THREE is easily one of James' finest recordings. The 1976 Creed Taylor-produced album makes its statement with five classic pieces arranged and conducted by James, one of which, "Westchester Lady", ranks among the biggest successes of his long career. The recording opens with the energetic fusion cut "One Mint Julep" featuring a strong brass section made up of Grover Washington, Jr., Jon Faddis, and others. The tempo then turns itself down a notch with the haunting melody of "Women of Ireland" featuring Eddie Daniels on flute and a fine guitar solo by Eric Gale. If the recording has a weak point, it's with James' electronic piano playing that almost simulates vibes on the very '70s-styled orchestrated "Storm King". Eddie Daniels returns with a solo on the mellow "Jamaica Farewell" which helps the listener unwind from the entire recording. Other noteworthy musicians include Harvey Mason, Will Lee and Gary King. Bob James fans, as well as fans of '70s fusion who are rounding out their collection, won't be disappointed in this fine third release.

No longer with Creed Taylor as producer, Bob James loses something with the 1978 release of TOUCHDOWN. Although James pulls in help from some of the jazz world's best-Hiram Bullock, Eric Gale, Gary King, Ron Carter, Steve Gadd, Mongo Santamaria, Dave Sanborn, Hubert Laws and Earl Klugh, Jon Faddis and Randy Brecker among others-and although backed by a talented orchestra, he still manages to deliver a somewhat formulaic recording. The five tracks, all of which are composed and arranged by James, blend together to create a relaxing background music CD. Nonetheless, TOUCHDOWN was a huge success for James. The most famous of the pieces is "Angela"; the song James literally scored a touchdown with when he composed it for the popular television series "Taxi". The album's title track, featuring a tremendous alto sax solo by Dave Sanborn, is also noteworthy as the most energetic track on the recording.

James chooses to use primarily electronic keyboards and synthesizers as opposed to acoustic piano in most places on the recording. The sound this generates actually makes TOUCHDOWN an innovative recording, as it is among the earliest of the recordings that were eventually classified as 'smooth jazz' recordings. Those in search of '70s-style Bob James may be disappointed. Smooth jazz lovers may find TOUCHDOWN an educational and wonderful listening experience as well as a necessity to their CD collection.

Bob James joins forces with the hot composer of the early '80s, Rod Temperton, with surprisingly splendid results. The two composers divided their contributions to the recording evenly, each bringing three songs to the finished product. The Temperton contributions mainly add a disco flavor, while the James contributions mellow things out and remind you that your listening to a Bob James CD. The opposing styles compliment one another and create a well-balanced recording that brings the listener back to the early eighties both as far as pop music goes and as far as jazz-fusion goes.

James, who produced the recording, also continues to use his fine conducting skills here, as all tracks are back by his usual orchestral counterparts, complete with strings, brass and percussion instruments. Great background vocal work by the likes of Patti Austin, Val Simpson and Luther Vandross, among others are also featured, creating a nice R-&-B element to the appropriately titled SIGN OF THE TIMES.

On Bob James seventh release, LUCKY SEVEN, the keyboardist rebounds from the blandness that makes for his previous recording, TOUCHDOWN. James composed, arranged and conducted the six tracks on this recording, as well as having produced the album. The result is more similar to his early to mid '70s releases. Once again, James pulls in his heavyweight friends of the decade to work alongside him. Hiram Bullock, bassist Neil Jason, Steve Khan, bassist Gary King, Steve Gadd, Jon Faddis, Randy Brecker, Dave Sanborn, and electric guitarist Eric Gale, among others play on the recording. Patti Austin lends her vocal talents to the duet with Neil Jason, "Friends", while an unusual cast consisting of Hiram Bullock, Jeff Schoen, and even James himself back them up.

The decade of the recording is recognizable due to the synthesizers and electronic keyboards James uses to create his sound, and once again, James puts his best tracks far forward, allowing the listener ample wind down time with the final three. While James didn't exactly hit the jackpot with LUCKY SEVEN, the recording carries some excellent work, particularly on the tracks "Rush Hour" and "Blue Lick".

Bob James attempts something different on RESTLESS, and succeeds to some extent. The appropriately titled album reflects his musical mood in 1994, and offers a little bit of everything for the Bob James fan. For those that crave the Bob James of the 70s, there is the track "Animal Dreams." James explores big band jazz with "Into the Light." His daughter, Hilary, lends her youthful vocal talent on the ballad "Storm Warning" and joins Lisa Fischer in backing up Luther Vandross on "Under Me," which lends an R&B flavor to the recording. Other Tracks such as "Lotus Leaves," "Back to Bali," and "Restless" expectedly cater to the contemporary jazz lover, with the title cut being the most predictable and therefore the most pop track on the album.

As is standard practice for James, he is joined on RESTLESS by a who's who in the jazz world. Nathan East, Michael Brecker, saxophonist Andy Snitzer, Ron Carter, Fareed Haque and Harvey Mason all lend their talents to the recording, providing RESTLESS with a quality sound and the spunk that is often times lost in '90s contemporary jazz.