BLUES BABE: The album cover for Keisha Patterson's debut release, Sunday Kind Of Love.

Sunday Kind of Love (Busy Bee Records)
Artiste: Keisha Patterson

KEISHA Patterson, a distinctively smooth-voiced Jamaican singer who possesses the ability to work jazz's boundaries with reggae, pop, avant-garde and blues, has assembled an album of standards echoing her breakthrough as a recording artiste with years of experience in musical theatre to her credit.

For some listeneners, some of the tracks might be a little too standard but more often than not, a splendidly sweet one-drop beat (courtesy of producers like Dalton Browne) and Patterson's subtle phrasing - filled with cunning pauses - casts its steamy, unshakeable spell. For proof, look no further than her interpretation of the jazz club favourite Fever or her laid-back charm on Cry Me A River, a more quick-paced version of the Barbra Streisand classic.

Patterson's 15-track album is very well put together and well-intended. There is even some of that old-school intellect versus emotional response vibe tossed into the mix.
Intellectually, one totally appreciates, respects and even fully enjoys the authenticity and artistry of what Patterson has achieved here. Clearly, she could have a stellar career ahead of her, and I particularly admire the way she's refusing to conform to the stereotypes of what a female artiste in Jamaica is supposed to sound like, look like - and deliver. Patterson stays true to her roots and the principles that have guided her life, and this pays off on her fantastic debut.

At the same time, this is not surprising, since Patterson (a member of JAVAA - Jamaica Association of Vintage Artistes and Affiliates) has a voice that is perfectly matched to the mature material she courageously tackles on Sunday Kind of Love. From the breezy album opener What A Difference to George Gershwin's renowned Summertime to the groovy final number This Feeling (a melodious and remarkably penned original number) the record takes listeners on a bumpy free ride. Fans of Etta James will laud Patterson for her superb treatment of At Last while you will never think of Never, Never, Never the same way again after you hear Patterson's version, guided by Dean Fraser's saxophone, Everol Gayle's trombone and Everald Wray's trumpet with riffs from Browne's guitar.

My only complaint is that Patterson should have included at least one more original cut on the album to add to the overall balance of the disc. Still, listeners won't be disappointed because with this release, Patterson seems poised to cement herself firmly in the music business and should experience greater success from here on into the future.

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