Though Tate has been featured as a vocalist often enough on records before this 1991 date, it still comes as a surprise to the many fans of his drumming that he is such a superb singer, too. Here, he combines the baritonal warmth of a Johnny Hartman, the flexibility of a Leon Thomas, the scatting agility of a Jon Hendricks, the authoritative swing of a Joe Williams and some other various qualities into his own unique container — a major singing style just waiting to be widely recognized. Foremost among the standards on this album is a great rendition of “You Go to My Head,” full of authentic feeling and original phrasing, with a lovely tripping flute solo by reedman Bill Easley. Tate doesn’t play drums at all on this gig, leaving the traps in the capable hands of Dennis Mackrel, who clearly got a lot of his inspiration on the rim shots and hi-hat from Tate. Mike Renzi handles the keyboards, even doing some Jimmy Smith-inspired riffing behind Tate’s closing rap on “Loose Change,” and Tate’s old rhythm partner on countless sessions, Ron Carter, returns on bass. – Richard S. Ginell