Freelon's prodigious vocal talents and eclectic musical tastes emanate from her sixth release as a leader, Soulcall (CCD-4896). This project - her first as producer - is imprinted with jazz traditions, gospel influences, and pop favorites, reflecting her private musical landscape.

"It's a challenge to split your brain into two roles, artist and producer," Freelon says. "But I wanted to look at the music in a very personal way, look at what animated it from the spiritual side, using songs as the vehicle. If you look at the lyrics to these songs, each one tells a story. You can find spirit in a variety of ways."

"We live in a boxy world," she avers. "And mixing genres - jazz, pop, gospel - is a risk. But, I say, 'get with the program!' open up the doors and let some light in. I am so in favor of any fresh way of looking at the world. You can't always be looking in the rear view mirror."

Indeed. Freelon injects hip-hop vigor into the humorous chestnut, "Button Up Your Overcoat." And, in a similar vein, playfully pays homage to the Nat "King" Cole favorite, "Straighten Up And Fly Right," with a syncopated strut propelled by her inspired a cappella interplay with Take 6. "They're my heroes," she says simply. "Halfway through making the record, I realized I really missed singing with others."

Freelon reprises the classic Jerry Butler/Betty Everett duet, "Let It Be Me," in a soulful conversation with tenor saxophonist, Kirk Whalum. "My dad and I used to sing this tune, just for fun, while driving in the car," she recalls. "Kirk and I have known each other for years and he produced and arranged this tune, too. It's great! He's a wonderful musician, and an incredible human being."

Two treatments of "Amazing Grace" - one with pianist Takana Miyamoto and the other with pianist James Williams, bassist Ray Drummond, drummer Ed Thigpen and tamborinist Gregg Field - bring Freelon full circle from church choir days. "Music has always been a part of my life," she says, "even though I have a degree in health care administration and worked in that field for several years. Once I made the commitment to pursue my musical career, in the early 80s, my life changed for the better in every way. I submitted to the fire that was always there."

From then on, Freelon fanned the fire within her, and ignited passion in listeners throughout the world. She met and worked with Dr. Billy Taylor, Yusef Lateef, Toshiko Akiyoshi, Ellis Marsalis, Dr. George Butler, Dianne Reeves, and toured with Ray Charles, Al Jarreau and T.S. Monk's Tentet, among others. Her two previous Concord releases - Maiden Voyage and her debut, Shaking Free - both earned GRAMMY® nominations; the latter also clinched a top slot on the Billboard jazz charts.

Freelon's won the Billie Holiday Award (from France's renowned Academie du Jazz) the Eubie Blake Award, two 'Lady of Soul' Soul Train nominations, as well as significant critical acclaim: "Nnenna need not be heralded as the next Sarah or the next anyone. She is simply the now Nnenna, for whom comparison is no longer necessary." (L.A. Times)

"Saying what you stand for is important," she believes. "A lot of artists shy away from real honesty, but I would like to narrow the gap between who I am and what I do. Soulcall is a very personal project." "One Child At A Time," a clarion affirmation of the powerful impact one person can have on a child's life, and the title cut, "Soulcall," are Freelon's compositions. Inspired by real experiences and written for "one of my passions, children, both are a call to action," she says, "My own childhood was magical, full of curiosity, creativity and a sense of safety, a time for me to discover who I am. So many children don't have that kind of childhood. I don't have a lot of resources," she concludes, "but I do have a mind. I do have a voice. I do have an audience. And I can draw attention to things that are important." "One Child At A Time," featuring the pop-gospel tinged vocals of Sounds of Blackness, is the anthem for Partners In Education, the seven million-strong organization of which Freelon is National Spokesperson.

"I used to listen to Stevie Wonder's 'If It's Magic,' in high school and college. Stevie has a way of writing so deeply, and nobody has a sound like Joe," she says of her duet with guitarist Joe Beck. "All the musicians who appear on this CD are really treasures." Tenor saxophonists James Sandon and Chris Potter (who also contributes alto flute); trumpeter Matt Shulman, bassist Matt Penman and her touring band - pianist Takana Miyamoto, bassist Wayne Bachelor, drummer Woody Williams and percussionist Beverly Botsford - round out the stellar lineup on Soulcall. "My touring band's been my cornerstone for the last two years, my musical reality," says Freelon, "and I absolutely wanted to record this CD with them. Touring made a big difference for us, allowed us to develop a unique band sound."

Her stirring interpretations of three jazz standards, "Better Than Anything," "Paper Moon" and "Just In Time;" percolating rendition of "I Say A Little Prayer;" and arrangement of "You're Nearer/Nearer My God To Thee" complete Freelon's soulful offering. "I think that last tune (which fuses Rodgers & Hart to traditional church music) exemplifies what I was trying to do with this CD. It creates co-existing realities, which could have been written as one song," she says. "I'm hoping it's a sleeper."

Vocals:	Nnenna Freelon
Piano:	James Williams Takana Miyamoto
Bass:	Ray Drummond Wayne Batchelor Matt Pennman
Drums:	Ed Thigpen Woody Williams
Percussion:	Beverly Botsford Gregg Fields
Alto Flute:	Chris Potter
Saxaphone:	James Sandon Chris Potter
Trumpet:	Matt Shulman
With Special Guests:	Joe Beck - guitar Kirk Whalum - saxophone Sounds of Blackness Take 6