Sade
Promise

"Her origin from Africa... her zebra elegance..." It's natural to associate this line by Paolo Conte with Helen Folasade Adu, known as Sade, an exquisite singer and songwriter of Nigerian origin, who along with her band helped make the notorious and somewhat overly criticized '80s less bitter, continuing to offer her sound, more or less unchanged, up to the present day. To be honest, the African origin in her music can only be found in minimal traces: some typical percussion here and there, but above all a certain mournful inflection in her sensual and delicate voice, some notes held a bit long, almost dragged, especially at the end of the verses, which make her singing style unmistakable and at the same time, in the long run, a bit monotone and repetitive, but this concerns mostly the latest albums.

Far more important than the origin is undoubtedly the elegance, and paraphrasing Paolo Conte, one could say that Sade's is a mix of zebra and purebred English horse, in the sense that the natural grace of her voice is accompanied by a musical approach, hers and her band's, that is decidedly Western, perfectly fitting into that typically British trend of neo-aesthetes of jazz that in the '80s offered groups like Style Council and Everything But The Girl. Generally, they were competent purveyors of a clean sound, crystal-clear pop-jazz even if a bit academic, and the musicians accompanying Sade are no exception, particularly Stuart Matthewman, who, along with Sade herself, authored most of the tracks.
In this specific case, however, there was the added value of an uncommon voice, which at least partly explains the huge commercial success that rewarded the Anglo-Nigerian singer since her debut ("Diamond Life").

"Promise" (1985) is the second album, and while on one hand, it appears less packed with catchphrases compared to the first, on the other hand, it may still be the most striking example of the perfect formal elegance previously mentioned. Even the two "catchy" tracks, i.e., designed to be played on the radio by less discerning DJs, are alluring and have rhythms, quick but not too much, as their winning card: "The Sweetest Taboo" is a kind of accelerated bossa-nova punctuated by lively percussion, "Never As Good As The First Time" a compelling pseudo-soul, an ideal base for Sade's vocalizations. But it is in the slow songs, or better known as "ballads," that the album offers its best. "Is It A Crime" is a fairly sustained jazz piece, enriched by remarkable vocal evolutions and sparkling piano and sax solos; "Jezebel" sees Sade's voice and Matthewman's sax competing in skill over a gently melancholic theme, in "Fear" Spanish-like notes successfully blend into an otherwise a bit too polished sound: the guitar of Carlos Bonell, a soloist also known for his recordings of classical Spanish composers. "Punch Drunk" is a tranquil instrumental "ballad," while "War Of The Hearts" and "You're Not The Man" share a quiet beginning, a crescendo rhythm, and a hypnotic but also a bit overly prolonged finale in both cases. We also mention "Mr. Wrong," with its striking bass line, and "Maureen," a cheerful and lively soul, an unusual way to remember a friend who is no longer with us.

Those seeking strong sensations can safely steer clear of this, as well as all Sade's albums, but those looking for excellent background music will find it absolutely perfect, even if they can't help but notice the absence of that spark of genius and creativity that usually marks masterpieces.