Wayne Davis - 1976 - Wayne Davis

Wayne Davis 

1976 

Wayne Davis

01. Strive On & Be Strong

02. Morning

03. Love Is

04. The Garden (There Is A Garden, Far Away)

05. Look At The People

06. Dawn Of A New Day

07. Things Seem Just Right, Now!

08. Intermezzo / Bahjia Habiba

09. "... One Last Thing!"

Bass Guitar – Everett Brooks, James Funches

Chorus – AL Mc Cray, Edward Duncan III, Jerome Bell, Wayne Davis

Drums – Stephen A. Walker

Flugelhorn – Phillip Harris

Flute – Wanda P. Robinson

Lead Guitar – Leron Young

Lead Vocals – Wayne Davis

Percussion – Albert Robinson

Piano – Wayne Davis

Synthesizer – Phillip Stancil, Wayne Davis

Tambourine – Wayne Davis

Tenor Saxophone – Clarence "Oscar" Smith, Karlton D. Sloan

Trombone – Greylin Hunter

Trumpet – David Leacraft

A wonderful soul album on the Black Fire label – a hip 70s imprint best known for spiritual jazz – stepping out here on a record that has a lot more vocals than their other releases, but which makes for a mighty nice fit! Wayne Davis is wonderful here – singing with the warmth of a Leroy Hutson at times, and some of the more righteous currents of DJ Rogers at others – often with harmony backings that really elevate the tunes, and a jazzy current in some of the instrumentation that ties things strongly back to the other artists on the Black Fire label! One of those groups, Experience Unlimited, lend their horn section for the record – and Davis himself shows off his deeper musical skills by also handling the piano and keyboards on the record. The whole thing is great

Wayne Davis, a Washington, D.C.-born vocalist and keyboardist, had already made waves with his 1973 Atlantic Records debut, A View From Another Place, produced by his mentor Roberta Flack. After Atlantic dropped him, Davis found a new home at Black Fire Records, an independent label founded by Jimmy Gray in Richmond, Virginia. Known for its Afrocentric soul-jazz catalog—including Oneness of Juju and Theatre West—Black Fire offered Davis the freedom to craft a deeply personal follow-up. Recorded at Bias Studios in Falls Church, Virginia, and produced by Jimmy Watkins and studio manager Bob Dawson, Wayne Davis features a stellar lineup: poet-flautist Wanda Robinson, Experience Unlimited’s horn section (pre-go-go fame), and Davis himself on keys and vocals.

Released in 1976, the album arrived during a fertile period for Black music, bridging gospel’s emotional heft with soul’s groove and jazz’s improvisational spirit. Yet, like many Black Fire projects, it faced distribution woes and remained obscure until its limited 1990s CD release and the 2022 Strut reissue, which included remastered audio and new liner notes. Davis’s journey—from D.C.’s gospel scene to Atlantic’s polish to Black Fire’s raw independence—infuses the album with a searching, triumphant energy.

Wayne Davis spans nine tracks across roughly 40 minutes, weaving gospel fervor with soulful grooves and subtle jazz flourishes. Here’s a detailed breakdown:

"Strive On and Be Strong" (4:34)

The opener bursts forth with a funky gospel charge, Davis’s voice soaring over a driving bassline and crisp drums. Horns punctuate the mix, courtesy of Experience Unlimited’s section, while the lyrics urge resilience—a fitting kickoff that blends spiritual uplift with danceable grit. It’s raw and immediate, setting a tone of unwavering conviction.

"Morning" (4:33)

A standout, “Morning” is a sublime gospel-soul ballad. Davis’s tender, raspy delivery evokes sunrise serenity, backed by delicate piano and a gentle rhythm section. The track’s simplicity amplifies its emotional weight—fans liken it to T.L. Barrett’s ecstatic reverence, though Davis keeps it earthbound and intimate. A quiet masterpiece.

"Love Is" (4:00)

This mid-tempo soul cut shifts to romance, with Davis crooning over a warm, organ-laced groove. Wanda Robinson’s flute adds an ethereal touch, elevating the track beyond standard fare. It’s smooth yet heartfelt, balancing the album’s heavier themes with a lighter, lovestruck vibe.

"The Garden (There Is a Garden, Far Away)" (4:14)

A meditative piece, “The Garden” conjures a utopian vision through Davis’s layered vocals and minimal instrumentation. The flute and soft percussion create a dreamlike haze, while the lyrics hint at escape or transcendence. It’s a breather that leans into spiritual jazz territory.

"Look at the People!" (5:11)

The album’s centerpiece is a rousing funk-gospel anthem. Davis’s call-and-response vocals—backed by a tight horn riff and pulsating bass—ignite a communal fire. The energy is infectious, with a raw, live-band feel that’s become a crate-digger favorite (Mr. Scruff called it one of his top tunes). It’s a celebration of collective strength, pure and unfiltered.

"Dawn of a New Day" (5:00)

Another gospel-soul gem, this track opens with a funky groove before settling into a reflective stride. Davis’s voice carries a weary hope, mirrored by the band’s dynamic shifts—quiet verses exploding into triumphant choruses. The horns and keys shine, making it a sibling to “Morning” with a bolder edge.

  " Things Seem Just Right, Now!" (4:11)

A breezy, optimistic number, this track rides a light funk rhythm with upbeat horns and Davis’s playful phrasing. It’s less weighty than others but adds a carefree moment, showcasing his versatility and the band’s chemistry.

"Intermezzo / Bahjia Habiba" (2:47)

A short, jazzy interlude, this segues into a flute-driven meditation with Robinson’s airy touch. It’s an experimental detour—sparse and atmospheric—that nods to Black Fire’s adventurous streak, though it feels more like a transition than a standalone statement.

 One Last Thing!" (5:01)

The closer is a soulful farewell, blending gospel intensity with a jazzy outro. Davis’s vocals build to a fervent peak, backed by swirling horns and percussion, before fading into a reflective jam. It’s a powerful capstone, leaving you both satisfied and curious for more.

Wayne Davis excels in its authenticity and emotional range. Davis’s voice—gravelly yet soulful—anchors every track, channeling gospel’s fire into secular grooves. The band’s interplay is organic, with horns, flute, and rhythm section locking into a cohesive, live-wire sound. Tracks like “Look at the People!” and “Morning” are timeless, marrying spiritual depth with musical hooks. Black Fire’s DIY ethos shines through, giving the album a rugged charm that contrasts with the polish of A View From Another Place.

That said, it’s not flawless. The production, while clear, lacks the low-end punch of bigger-budget soul records—modern listeners might crave more bass heft (a limitation the 2022 remaster improves but doesn’t fully fix). Some tracks, like “Intermezzo / Bahjia Habiba,” feel underdeveloped, serving more as mood pieces than fully realized songs. The album’s brevity and uneven pacing—intense highs followed by abrupt shifts—might also leave you wanting a longer, more cohesive arc.

Though initially overlooked, Wayne Davis has grown into a cult classic. Its 2022 reissue sparked renewed interest, with DJs and collectors hailing “Look at the People!” as a dancefloor revelation. Davis’s later work with Experience Unlimited (Free Yourself, 1977) and his broader D.C. soul legacy tie it to a vibrant scene, while its gospel-soul fusion prefigures artists like Marvin Gaye’s What’s Going On era or even D’Angelo’s rawer moments. Black Fire’s catalog—bolstered by this release—stands as a pillar of independent Black music, and Davis’s contribution is a cornerstone.

The album’s rediscovery owes much to Strut’s efforts, which paired pristine transfers from Bob Dawson’s tapes with Muzi Branch’s original artwork. It’s a bridge between Davis’s Atlantic polish and Black Fire’s grassroots soul, offering a snapshot of an artist in transition—unshackled and unafraid.

Wayne Davis is a raw, radiant gem—imperfect but brimming with heart. Its gospel-soul core, spiked with funk and jazz, captures a man and a movement at their most inspired. Tracks like “Morning” and “Look at the People!” are revelatory, while the album as a whole feels like a lost sermon from a bygone era, preached with grit and grace. For fans of spiritual soul, rare grooves, or Black Fire’s legacy, it’s essential listening.