The Light Of The Sun [CD]

Jill Scott is probably one of the most significant black female vocalists to have emerged in recent years, having established herself very quickly as a multi-talented and multi-faceted artists able to express herself across a range of artistic forms. This ability to cross boundaries, and most importantly, to do so intelligently, can be heard in 'Who Is Jill Scott? Words & Sounds Volume One', 'Beautifully Human: Words & Sounds Volume Two' and 'The Real Thing: Words & Sounds Volume Three'. The release of 'The Light Of The Sun', however, is particularly significant in that it is the first release through the Warner Brothers (WB) Records imprint, perhaps heralding the start of a new direction since her leaving Hidden Beach Recordings.

The impression of change is immediate from the cover, Scott's ability to use image as a signifier rooted in her cultural and ethnic roots has always been important, especially where this has been used to maintain the relationship with her fan base, communicating an accessibility that remained relevant (where other artists might seek to jettison as quickly as possible such elements in order to achieve a perceived wider appeal). The promotional photographs in the album booklet continue to reinforce this impression, ranging from the positive assertion of glamour on the front cover, bubble gum blowing beauty to Afro-centric sun goddess. But what of the music? Has the move to Warner Brothers resulted in a musical change of landscape and tone?

The album opens with Scott singing over a 70s infused groove, ranging from singing of the love for her recently born son to asserting the fact of her being blessed. This is quickly followed by 'So In Love' (featuring Anthony Hamilton), a track that gained immediate attention upon being made available prior to the release of the album, and rightly so. It is a solid duet that allows both artists to showcase their voices to excellent effect, and for soul fans nostalgic for music duets from the 60s and 70s this allows an easy entry point to the album. 'Shame' (featuring Eve & The A Group), sounds rythmically similar to Eve's 2007 record 'Tambourine'. The inclusion of a rap by Eve may divide audiences, but it will keep the record relevant to a younger demographic. Old School Hip Hops fans will smile as Doug. E. Fresh provides a typically rythmic accompaniememt to 'All Cried Out Redux', which also features a rolling piano in an almost Scott Joplin 'ragtime' manner (The juxtaposition of 'beatboxing' and 'ragtime' is not likely to have been coincidental). 'Le Boom Vent Suite' sees Scott moving from sexually confident and assertive female ('somebody else is sniffin' at my dress, somebody else is checkin' for a sister, and I'm sorry you're about to get left...') moving through a different gear ('Grown women, making decisions and choices') to a position where she is prepared to reveal her femininity in all its expressions ('...tired of being strong all day'). 'So Gone' (featuring Paul Wall) continues the exploration of female identity and need. 'Hear My Call' is (subjectively) one of the strongest tracks on the album, a beautifully delivered vocal exploring human doubt through a prayer to God. Whatever your inclinations to religion the voice will carry you.

'Some Other Time' is almost childlike in musical approach, and 'Quick' is a simple rhythmic delight, you can't help but wonder if there is an autobiographical element in the message. 'Making You Wait' is similar, being a slow groove concerned less with song and more with words in a bare, stripped back style. 'Womanifesto' is a poetic assertion of mental, physical and spiritual identity utilising street vernacular that can be read in a variety of ways by a variety of audiences ('Clearly, I am not just an ass').

So. Do you buy?

There are stylistic echoes of her earlier work, where words and song are utilised to effect. Her voice can be at once aggressive, coy, tempting or a weapon, and her work is suffused with an intelligence that ranges far and is not likely given to prescribed limitations of any kind. As an album there appears to have been an attempt to embrace all aspects of this character, whilst acknowledging the demands of commercial music making, and there is a tension here that is not easily resolved. There are some fine tracks included here ('So In Love', 'Hear My Call', 'Le Boom Vent Suite', 'Womanifesto'), but there are others that appear less developed, in the production and the lyrics (also evident in 'The Real Thing: Words & Sounds Volume Three'). Despite this reservation the album is still better developed than many other contemporary offerings, and her unique talent remains indisputable. Perhaps as a work this will evolve through her (fantastic) live shows.

There is, however, a complicating factor to this review. For whilst working on this release Scott's former label Hidden Beach announced that it would be making available previously unheard material (subsequently released as 'The Original Jill Scott: From The Vault Volume One'), and a comparison of the two albums underlines the qualitative issues identified in 'The Light Of The Sun'. For a more fully realised exploration of Jill Scott as an artist I strongly recommend that readers consider buying both albums.

Light Of The Sun is a good album, but it will not be counted amongst her finest work. A 7/10.

I have been a Jill Scott fan from the get go. I was repping this woman in the UK when most Brits had never heard of her. I ended up giving her first cd to friends and family as presents. I have never missed her concerts in the UK - NEVER. I look forward to throwing her cds in the player and leaving them on repeat all day, especially on those wet Saturday's when there is nothing else to do. So you can imagine my elation when I heard that she was coming out with a new CD.

However, having waited with bated breath and spent much of the weekend listening to it, it is with a heavy heart that I have to say that this cd is a huge disappointment. I know she has been through a lot and used this to express where she is. I don't expect her music to consistently remain the same. I have listened to Alicia Keys grow as an artist and her music has evolved and changed as she has matured into an amazing artist but although every album sounds different from the last, I always know that it is Alicia Keys. I'm sorry but i can't say the same for Jill Scott. Apart from 'So in Love' & 'Hear my call', every other track is a mish mash of watery ballads and nonsensical hip hop. This is dull and boring. Life is too short to wait for a song to grow on you. Previously, Jill Scott's music hit you with a bang. To say I am disappointed is an understatement.

As with B Carr's review, I have been a massive and dedicated Jill Scott fan from the moment I heard her first song back in the late 90's. I have bought every album, dvd, book, been to every show and loved all her work to date.
This album just doesn't cut the mustard I'm afraid and it pains me to say it! The lead single with Anthony Hamilton is clearly the highlight and one or two other tracks are good but the remainder I am really disappointed with. I've given it a few listens and hoped it would grow on me but unfortunately not. Some of the tracks almost blend into one and I couldn't tell one track had ended and the next had started.
I'm thinking her record label woes played a part in this material and just hope and pray she comes back to form with her next release. I gave this 3 stars just because its Jill, anyone else and I'd have struggled to give it 2. Sorry Jill, still love you but we know you can do better!!