Pamela Williams的音乐表演不会局限于某一种风格,而从小受爵士乐的薰陶,更让Pamela Williams一直投身于爵士与萨克斯风表演的音乐行业中。潘蜜拉.威廉斯的萨克斯风演奏旋律永远单纯优美,音色的控制总是具有独特的魅力,极为动人。在她的新专辑之中,威廉斯呈现出丝毫不逊于肯尼G的演奏能力,甚至于在节奏的掌握上比肯尼G更胜数筹,这位拥有爆炸性诱惑身材的女乐手,在专辑中的多首动听乐曲裡,表现得极为自在而迷人,旋律的转折、与键盘等其他乐团成员的对应合奏,透露出这位外型出众的乐手其实拥有绝佳的音乐能力。
Almost like a commercially dictated epidemic, nearly every top smooth jazz artist did a cover album in the mid-2000s. Saxtress Pamela Williams came to the party a little after most of her cohorts did, and after delivering two of her most compelling discs ever in Sweet Saxations and Elixir. But while the prospect of an album like her Burt Bacharach, Hal David, and Dionne Warwick tribute could have seemed like a downturn in creative momentum, she had actually wanted to pay homage to these pop giants for ten years. The current marketplace simply provided the opportunity -- and she takes brilliant advantage, coming up with stylistic twists that somehow do add something fresh. Her playing is rich, soulful, and expressive (all trademarks to her sensual, groove-oriented sound) and her arrangements are bright and energetic. Sometimes, they're straightforward and low-key (the lush, smoky title track; "Anyone Who Had a Heart"), and in other instances they're snazzy, jazzy, brassy, and funky, as on "You'll Never Get to Heaven (If You Break My Heart)" (featuring Steve "Left Hand" Lewis' crisp and cool electric guitar), the bright and bouncy "Don't Make Me Over," and "Do You Know the Way to San Jose," which bursts with a bubbling, percussive Latin vibe. "I Say a Little Prayer" and "Walk on By" (with dreamy vocals by Precious Iglesias) perfectly reflect Williams' preferred playful old-school style. So while the idea of yet another album of pop standards was old hat by the time she got around to pursuing her dream, the saxophonist's powerfully emotional execution makes these timeless songs as hip as they can be 40 years after listeners first heard them.