Posted on 09/02/2008
I was so ready to clown this album, but I am forced to reserve all that hate for another occasion. Most people struggle to find one thing they’re good at, so the odds were slim that this actor is actually a good singer, too. But T-Ho actually compiled some exciting tracks for Shine Through It. It’s refreshing to hear a different male voice in music, one that isn’t afraid to sound masculine as opposed to a 35 year old boys choir wannabe, and one that makes no attempt to fit in with the expectations of popular urban music. This album is as close to the Brat Pack as it is Stevie Wonder, but couldn’t be further from Ne-Yo or Joe. The wonderful mix is amplified by the crack team of musicians supporting Howard’s narratives, Miles Mosley on upright bass and piano, Kamasi Washington on tenor sax, Kenneth Crouch on keyboard as well as Howard himself on lead guitar, creating rich arrangements that defy categorization.

Every step of the way, Howard and his phenomenal band pull a wild card from their sleeves. The title track was pleasant enough, but with a minute to go, the backing male vocalists erupt into their own, earth-shaking chorus that adds a little kick to the proceedings. Whatever few inconsistencies are found on the album, one of the most intriguing qualities is Howard and company’s willingness to cut loose. Whether it’s the tango crescendo of “Mr. Johnson’s Lawn” or Serafin Aguilar’s trumpet leading the way on the absolutely dope “Spanish Love Affair,” building from smoldering Latin jazz to a full-blown Buena Vista Social Club finale, Shine Through It never settles for the predictable. Even “It’s All Game,” which starts with Howard speaking about the ‘least interest’ theory, progresses into a wordless, wailing sax instrumental. The album closer, “War” is a brassy, big band number that easily has Cab Calloway flashing that Cheshire grin in his grave.

There are moments, such as on “Mr. Johnson’s Lawn,” when Howard’s rushed singing is a little disarming. The raspy quality of his voice can sound too aggressive, so it works better when he takes it easy on songs like “Sanctuary,” where he doesn’t attempt to do too much with it. The songs about the beauty of love and complexity of ego and relationships are equally corny and observant at times, but always sincere. Howard might not get taken too seriously for being a double threat because really, no one ever talks about being impressed by a double threat. A greedy public that we are, we want you to act, sing and juggle. But with film and music capably placed under his belt, maybe he’ll break some records in Beijing, too, just to get the attention he really deserves.

- Candace L.