RAHSAAN PATTERSON - A MUSICAL BREATH OF FRESH AIR! REVIEWConsider the recent debut releases from Eric Benet, Kenny Lattimore, and Eryka Badu and you will soon realize that R&B is returning to good quality music of the ilk that touches the heart and Soul. Add young Rahsaan Patterson to this very short list as an exciting new performer with not only a voice - but something to say. Oh, and how he articulates! This self-titled premiere recording is one of the most satisfying music releases in recent memory.
The record showcases Patterson as a vocalist with quite an impressive depth of emotion as well as technical range. While he often sounds like Stevie Wonder, at times he brings to mind traces of what a less-excited Chaka Khan might sound like after a gender switch! This is no minor accomplishment.
On the writing end, Patterson's collaborations exhibit the thoughtfulness of a disciplined artist. The fourteen selections here indicate a willingness to hone his craft, taking the time with his work, carefully going over the fruit of his labour with a fine tooth comb before exposing it. One thing for certain: Rahsaan really knows his music. This album is nothing if not diverse. One moment we hear a funky old school jam and the next, it is onward to acoustic balladry of the Tracy Chapman/Eric Clapton brand.
Tunes like the beautiful "Where You Are" can be deceptively simple upon first listen. Here, a stripped-down production approach makes room for Patterson's stunning vocal presentation. The artist is able to wrap his considerable voice over and around a pretty melody line, a difficult feat for many - one perfected by the late great jazz singer Sarah Vaughan. The skill does not stop here, though. Like Wonder at his creative best, Patterson knows how to enhance a song by adding subtle vocal flavor! s, never underestimating the role of the background vocal. On "Stop By" he comes through full force, countering Keith Crouch's bass-heavy instrumental arrangement with playful phrasing and an urgent wail that re-enforce the lyric's romantic plea. With a classic violin intro, suggesting the grand preludes of the Gershwin era, "Can We Wait A Minute" is just as tender as the title would imply. Though, finally, soft melodic tones gradually build to an intense rhythmic groove on the outro. It should come as no surprise that Patterson's biggest claim to fame thus far has been having his songs recorded by the likes of Tevin Campbell, as they share similar vocal styles. However, Patterson's take is uniquely his own.
The poignant serenade of "Spend The Night" is rather effective. The edge of the lead vocal brilliantly plays-off the lushness of Patterson's multi-tracked background voices. A less well-intentioned artist would have made this a routine "Freak Me"/ "Wild Thing" funk-jam about carnal pleasures, but he knows better.
Of the aforementioned influences, Patterson sounds most Stevie-like on "So Fine", the standout "My Sweetheart" and "Stay Awhile". Though at times the fine-line of his oral sensibilities suggest a commonality in the singing styles of Stevie and Chaka that would otherwise be overlooked by the listener.
The introspective, moody, "Tears Ago", shows Patterson's ease at singing material written by others, while "Soul Free", flows with ample assistance from Billy Preston's signature organ playing. It is hard to play favorites as the whole package is a splendid achievement. Hopefully, this album will serve as the first in a long line of great releases from Patterson.
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