Eric Frazier: Find Yourself (Then Find Me)

Frazier, an unquestionable talent on the conga and other hand percussion, is too deferential in playing and restrained in arranging for 2004's Find Yourself (Then Find Me) to be all it can be. It's a solid mix of the funk, Latin and R&B styles, but doesn't demand any permanent space in the musical consciousness.

Percussionists face a choice when recording albums as a leader of being a dominant lead voice (i.e. Brent Lewis) or the foundation of an ensemble. Frazier opts for the latter and does a good job at the crucial task of recruiting talented players suited to his style, but spends most of the album lost behind them. His compositions seem well-suited for live performance, but could be a bit more aggressive in the studio—the proverbial party is more lively mixer than get-down-and-dirty dance jam.

The first five of the album's ten songs are instrumentals, with Frazier taking a more visible role as a vocalist on the rest. The division is welcome, offering continuity in both approaches, but both lack arranging variety to the point where listeners can pretty much predict how everything plays out: A reasonably catchy horn-heavy chorus, followed by mid-length solos by most or all of the ensemble. The trumpeter will stick to the chording and pacing of the compositions, a comforting rather than exciting presence. The alto saxophonist will be just as safe—albeit a bit livelier—with a tone probably best suited for this setting. The tenor player will be more deliberative and interesting, but in a tone a bit too understated for this group. The pianist will contribute consistently solid, if not standout, contributions with a spirited yet light touch that allows Frazier's percussion to come through—if only it would.

Unfortunately, Frazier's percussion is almost entirely lost in the mix. The horns no doubt have something to do with this, but his work is more prominent in previous albums with similar arrangements so this appears to be a deliberate decision. He also does almost no soloing.

His vocals—ranging from swing to Motown ballads to "Johnny B. Goode"-like rock—are solid in his general delivery without ever really hitting the stratosphere in execution or daring. Like the instrumentals there's nothing wrong here, but better listening is a Big Bad Voodoo Daddy album away.

In a way, it's unfair to be critical of this album—it's a solid "B" effort, but is competing in a vast arena where quality "A" efforts are plentiful. Those who do find this a good listen might check out a similar, but better executed set on 2000's Smile Inside Your Soul. Also, two free MP3s from 1996's Count Your Blessings are available from the Internet Underground Music Archive .

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