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In the wake of the tragedies of September 11, musical performance was spoken of not only as a premier way to raise money for the relief effort, but also as the one spiritual healer which could unite hurting people of all cultures. Sheila Escovedo, a passionate Christian with a little of the “desire to share” wanderlust of the Apostle Paul, knows a little something about this power. She tucks the elegant, orchestral flavored “River God” - a meditation on the power of prayer - deep in the tracking of Sheila E & The E Train’s Heaven (Concord Vista), but has seen the song move global audiences of all different spiritualities to tears.

“I play in Japan a few times a year to audiences that are sometimes mostly Buddhist, and they love gospel music,” says the singer/percussionist. “The songs I do seem to be able to break down the language barrier and touch people in really beautiful ways, and when I see tears flow, I say a quiet ‘Hallelujah!’ I did a lot of jazz in the set there this year but closed with ‘River God,’ and even I had a hard time getting through it. I was crying, too. I believe this is the way God allows me to touch people, the reason I was given the gift. It’s really amazing grace at work.”

These days she still finds herself trying to shed the provocative image of her pop culture heyday leading The Glamorous Life as a protogee of Prince in the mid to late 80s. As her commitment to God has deepened, so has her love for gospel music. Her dream is to someday soon do an entire gospel recording, but these past two recordings have been on a label which preferred a balance between her soothing vocals and - harkening slightly back to her teen years playing with George Duke - cool, easy funk filled smooth jazz.

“Adhering to the label’s release schedule during a very busy time, I put Heaven together very quickly and thus it doesn’t have as much spiritual minded or Latin music as I’d like it to,” she says. “On the other hand, I realize I don’t have to pound the inspirational message home so overtly with every song. There’s a lot of just hanging loose and having fun here.”

That’s clear on tracks like “Joy” and “Slight Accent,” which both incorporate a very vibrant undercurrent of organ harmony, i.e. a subtle but still sharp gospel flavor in the midst of more straightforward funk. The first finds Escovedo’s tight drum groove backing a swirling duet of Donald Hayes’ soulful sax and Mano Hanes’ whimsical, sometimes spacey synth runs, over the brooding organ (also by Hanes). “Slight Accent” offers the same type of pocket groove with Eddie M.’s sax and the organ (by Byron Wiliams) a little more percussive (including a feisty solo spotlight); at one point, M. and trombonist Steve Baxter have a brief but colorful improv conversation.

The title track, a mid-tempo exercise in restrained cool led by saxman Gerald Albright and featuring not quite enough for guitarist Paul Jackson Jr. to do, is middle of the road smooth jazz - a pleasantry that could have come from any classic Spyro Gyra album. “Closer,” a light fusion piece, features Escovedo’s breathy vocals and steady, exotic percussion and a brief guest appearance by former mentor Duke on Mini Moog; midway through the tune, she starts banging the skins along with Duke’s frantic runs, harkening back to those early days.

Though her early fame came as a pop vocalist, Escovedo keeps things kind of airy on the six vocal tracks. She takes the dreamy route on Richard Marx’s “Waiting For You” (original title: “Right Here Waiting”) and the island flavored “Bahia,” and pipes in her voice via a distorted “tin can” approach on the upbeat “I Can Go On.” She’s a little more convincing on the folksy post-breakup song “Who’s Taking Care of You” and the trumpet laced, sparsely arranged “Trust Me,” which draws upon a well known Biblical parable.

“Over the years I’ve been blessed to perform with many different artists, and love listening to Latin, R&B, funk, pop, gospel, even country music,” she says. “My life’s experience of music is referenced here. Each song speaks of things that are positive, which can be sung to someone, or to God. Lynn (Mabry, her back-up singer and manager) and I wrote ‘Who’s Taking Care of You?’ after seeing Prince in concert and spending some time with him. “I really wanted to do a cover song, and Richard Marx’s tune is really appropriate for the CD. Every record takes on a new character as I try to balance all of my different musical interests.”

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