Marlon Saunders is one of those rare individuals who was, quite simply, born to sing.  Raised in Maryland , he was naturally picking up tunes on the piano at age five, and was singing at home and church from the time he was able to talk.  And while it was clear early on that music would be his life, in his formative years it was quite unclear how that eventuality would play out.  He attended the prestigious Peabody Conservatory of Music, studying saxophone.  However, his desire to sing ultimately made him felt constrained by the path on which he was traveling, both with regard to instrument and musical direction, and, rather than take the international musician career track, he chose instead to study vocal music at Boston's Berklee College of Music (where SoulTracker Gabrielle Goodman now teaches), determined to become a great jazz singer.

Following graduation, he began the rough road of establishing a career in music.  Fortunately, his substantial talent led to a number of increasingly important gigs.  He paid the bills writing and recording jingles, including one for Miller Lite, and his rich tenor voice found him backup singing roles for such stars as Billy Joel, Barry White, Michael Jackson and Sting.  Perhaps the seminal moment in his musical development and education was when he became a member of Bobby McFerren's innovative vocal group, Voicestra.  McFerren, a truly unique singer, became an important mentor, and helped turn Saunders from a great voice to a great vocalist.

In the early 90s, Saunders became a founding member and lead singer for Jazzhole, an acid jazz group that attained a significant following in Europe .  Their innovative and somewhat eclectic jazz and soul stylings made them critical favorites, although they've never received the popular attention that their excellent writing, singing and playing deserve.

While Saunders remained part of Jazzhole, his work with McFerren convinced him that he truly wanted to express himself through solo work.  Thus, he formed a record label (Black Honey) and, in 2003, released his first solo recording, Enter My Mind.  Enter is an ambitious, incredibly performed shot back to the mellow soul and early acid jazz sounds of the late 70s and early 80s.  And while one can hear traces of Rufus, Incognito and Earth Wind & Fire at various times on the disc, Saunders' nimble voice and creative arrangements keep the sound from being derivative in any way.

As you would expect given Saunders' jazz roots, Enter My Mind avoids the death trap of dominant electronics, relying more on strong, organic rhythm sections around a Fender Rhodes lead, and nice jazzy touches such as flutes and guitars in various spots.  But the highlight is the breathtaking vocal arrangements, with Saunders' cool lead surrounded by great choirs that include such notable vocalists as Fonzi Thorton and Tawatha Agee.

The album covers a lot of territory, from the funky gospelish "Keep Doin' What Ya Do" to a soft, original cover of Stevie Wonder's "If It's Magic."  It is at its best, though, on the stuff in between.  His "Premonition" is the kind of aching bluesy ballad that Maxwell should be creating right now; "Love Serenade" updates a Soul II Soul/Incognito groove in a very cool arrangement; and "Inspiration" has a mid-70s Stevie Wonder feel that is right on target.  Best of all is "Coolin'," maybe the best straight up slow jam of the past year.  And while the vocal performance and arrangements are powerful, they also provide a great backdrop for Saunders' lyrics, as his words of pride, empowerment and hope hearken back to the what writer Craig Werner labels the "Gospel Vision" of Curtis Mayfield and Donny Hathaway thirty years ago.

Whether or not Saunders continues to work primarily in group settings such as Jazzhole, with Enter My Mind he has established himself as a powerful and thoughtful solo artist, and one who, if there is any justice, will soon become a major force in driving Soul music to a future direction that is as intelligent and meaningful as its past.

By Chris Rizik