Before he died in June, trumpeter-vocalist Doc Cheatham was ourlast link with the classic jazz of the Twenties. Still giggingweekly, he and his quartet proved that tradition as alive as he wason Columbia's sprightlyThe Eighty-Seven Years of Doc Cheatham in1993. And at 91 he generated an even more convincing testament.Organized by 23-year-old New Orleans trumpet phenom NicholasPayton,Doc Cheatham & Nicholas Payton(Verve) gathers an all-starNew Orleans band ranging in age from barely 40 to nearly 80. Itssporty selection of pop and jazz standards that spring intovigorous polyphonic action as the players trade swinging choruses.And on most of them, the mild-voiced Cheatham, who only startedsinging professionally in the Sixties, interprets the lyric with averve that recalls his mentor Louis Armstrong in wit if not timbre. Cynics may figure thatWyclef Jean Presents the Carnival(RuffHouse/Columbia) is nothing more than a second banana's attemptto show the world that he's as worthy of attention as femme FugeeLauryn Hill. If so, however, he does the job. This isn't as magicalan album asThe Score--the three-way vocal interplay is missed. Butbetween its surprisingly witty skits, Caribbean borrowings thatrange from dancehall beats to Haitian patois, eternal Bee Geessample, and unpreachy social conscience, this celebration stands abetter chance than most well-meaning rap of impacting the audienceit's aimed at. Inundated with practical "slow jams" compilations that promise tobring a romantic evening to a carnal conclusion, I was relieved toreceive the blatantStrip Jointz (Robbins Music).The concept: r&b to remove yourclothes to. Professionally. As inBump n' Grind,Dirty Cash,andMe So Horny. Playboy, July 1997
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