is the self-titled debut by , released in 1973 on the Blue Thumb label. The album yielded the hits and and became a success based on word of mouth after heralded performances at in Los Angeles and the . The album peaked at #13 on the Billboard 200 and reached #3 on the R&B albums chart and was certified Gold by the Recording Industry Association of America in February 1974.
Keeping their forward momentum at warp speed, the Pointer Sisters brought the effusive Steppin' to bear in summer 1975. Having already danced into the spotlight across their first three albums, it was no surprise when the David Rubinson-produced LP, which boasted one of the era's best cut-out sleeves (slingback high-heeled tap sneakers!), cruised to number three R&B. Keeping their feet planted firmly in the older soul tradition which had served them so well, the Pointer Sisters continued to look ahead, carving their own niche in a genre soon to be glutted with contenders. This set is a thriller, from the opening funk groove of the number one hit "How Long (Betcha' Got a Chick on the Side)," which remains a delicious collision of mid-period soul, funk.
Considered one of the top violinists in the jazz field, the late Noel Pointer also established a solid following for himself among soul and funk music lovers thanks to a series of great albums recorded between 1977 and 1993 (one year before his passing at the young age of 39). Released in 1980 and making its worldwide CD debut with this 2012 reissue, CALLING was the Brooklyn-born musician’s fourth album for United Artists. The LP was a musical departure for Noel, who worked with noted producer/arranger Richard Evans on the project since it included Noel on several tracks on vocals while the choice of material reflected a spiritual approach reflected in several of the tracks including ‘Higher Than Heaven,’ ‘Peace On Earth’ and the title track.
Pointer's last release found him resurfacing on a label (Shanachie) known for almost everything but fusion. This record sounds much like the ones he made in the late '70s and 1980s, except that he also does some competent vocals. These are pleasant, heavily produced and arranged tracks with minimal improvisation and limited energy and intensity. They are jazz only in the broadest sense and are not aimed at hardcore listeners or purists. If easy listening instrumental fare is up your alley, then Pointer's light solos and heavily arranged music work.
A surprisingly excellent record – a blend of off-kilter vocals, funky fusion, and jazz violin – also one of Noel Pointer's most soul-based albums, thanks to some great arrangements from Chisoul maestro Richard Evans! The album takes the electric feel of Pointer's 70s work, and gives it a nice Capitol Rare twist – hitting some really sweet mellow tunes that really put the violin on back burner, and which focus on Pointer's compelling and spacey vocals.
Successful instrumental debut session from the electric violinist who was a dominant figure at Blue Note in the late '70s. Pointer could at times churn out a surprisingly riveting solo, but he spent more time plugging into rigidly arranged, heavily produced and orchestrated structures and supporting background vocalists.