Patti Austin
Patti Austin is an acclaimed American R&B, pop, and jazz singer renowned for her versatile voice and collaborations with music legends.
Born on August 10, 1948 or 1950 in New York City to musician parents Gordon and Edna Austin, she debuted at age four or five on Harlem's Apollo Theater stage with godmother Dinah Washington. Raised in show business, she toured Europe at nine with Quincy Jones and performed with stars like Sammy Davis Jr. and Harry Belafonte.
Austin became a top session vocalist in the 1960s-70s, singing on hits like James Brown's "It's a Man's World" and backing Paul Simon, Roberta Flack, and George Benson. Her breakthrough came in the 1980s on Quincy Jones's Qwest label with albums like Every Home Should Have One, featuring the massive duet hit "Baby, Come to Me" with James Ingram, revived by General Hospital. She also excelled in jazz, releasing standards collections like The Real Me.
A Grammy winner for Best Jazz Vocal Album in 2008, Austin has seven nominations, an honorary Berklee doctorate, and charted 20 R&B songs from 1969-1991. Known for jingles and ongoing performances, her net worth is estimated at $12 million; she remains single with no children.
End Of A Rainbow
Bass – Will Lee
Synthesizer – Barry Miles 5:45
A2 In My Life 4:18
A3 You Don't Have To Say You're Sorry
Guitar – Steve Khan
Harp – Gloria Agostini
Piano – Michael Abene 3:37
A4 More Today Than Yesterday
Bass – Will Lee
Trumpet – Randy Brecker
Written-By – Pat Upton 5:29
B1 Give It Time
Bass – Chuck Rainey
Trumpet – Randy Brecker 3:07
B2 There Is No Time
Drums – Andy Newmark 3:28
B3 What's At The End Of A Rainbow
Guitar – Steve Khan
Harp – Gloria Agostini
Piano – Michael Abene 2:50
B4 This Side Of Heaven
Drums – Andy Newmark
Synthesizer – Barry Miles 3:03
B5 Sweet Sadie The Savior
Baritone Saxophone – Ronnie Cuber
Bass – Chuck Rainey
Tenor Saxophone – Joe Farrell 6:25
Label: CTI Records – CTI 5001
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul, Jazz
Style: Soul, Pop
Patti Austin's End of a Rainbow (1976) is a highly acclaimed debut for CTI Records, praised for showcasing her incredible vocal range, songwriting (especially "Sweet Sadie the Savior," "Say You Love Me"), and smooth blend of soul, jazz, and R&B, featuring lush arrangements, pop sensibilities (Stevie Wonder influence), and stunning ballads like "In My Life," making it a vital introduction to her artistry before her later Quincy Jones success.
It demonstrates her "heart and soul," from tender, heartfelt ballads to impressive scat singing, reminiscent of Ella Fitzgerald.
The album features eight original compositions, with "Sweet Sadie the Savior" (also recorded by Blood, Sweat & Tears) and "Say You Love Me" (a charting single) standing out.
Features rich mix of smooth soul, jazz, and pop, influenced by Stevie Wonder, with lush strings, harp, and top session players.
Standout Tracks: "In My Life," "You Don't Have to Say You're Sorry," "Give It Time," and the title track are frequently mentioned highlights.
Considered a classic, it earned a spot in many critics' top albums and charted well in the jazz world. It is an excellent starting point to understand Austin's vocal prowess and musical depth.
For Old Fans it;s a chance to revisit her formative CTI work, highlighting her unique voice before her mainstream superstardom.
It's seen as a foundational album, bridging classic soul and contemporary jazz-pop, and remains a permanent favorite for many.
The album marked Austin's strong debut on CTI after a decade in the industry, establishing her sophisticated style before her major pop hits in the 80s.
It was a U.S. Top 40 jazz charted album and remains a beloved staple in soul and jazz collections.
Havana Candy
Even with production limitations, Austin's voice shines, delivering conviction and emotion on ballads and upbeat tracks alike. It features strong soul-funk (early tracks), smooth vocal jazz, and catchy AOR/fusion elements, appealing to fans of those styles. Released during a financially strained period for CTI, some reviews note recycled arrangements, but Austin's performance elevates the material.
Fan Favorites: "Little Baby," "I Just Want To Know," "I Need Somebody" (Austin-penned), and the popular duet "That's Enough For Me" (with Dave Grusin) are often highlighted. Tracks lean into tropical sounds and AOR (Adult Oriented Rock), making it great for fans of that smooth, melodic sound.
Reviews are mixed but lean positive, especially from loyal fans. While some acknowledge the production's shortcomings, many feel Austin's exceptional vocals and the strong melodies, particularly in the latter half, make it a worthwhile listen, especially for those discovering her early work.
Patti Austin
Producer – Quincy Jones
Written-By – Clif Magness, Glen Ballard 4:17
A2 Rhythm Of The Street
Producer, Written-By – Narada Michael Walden
Written-By – Jeffrey Cohen, Preston Glass 4:00
A3 All Behind Us Now
Producer, Written-By – David Pack 4:59
A4 Hot! In The Flames Of Love
Producer, Written-By – Narada Michael Walden
Written-By – Jeffrey Cohen, Preston Glass 3:59
A5 Change Your Attitude
Producer, Written-By – Clif Magness, Glen Ballard 3:41
B1 Shoot The Moon
Producer, Written-By – Glen Ballard, Glen Ballard 3:35
B2 I've Got My Heart Set On You
Producer – Ollie E. Brown
Written-By – David Bryant, Diane Warren 4:12
B3 Fine Fine Fella (Got To Have You)
Producer, Written-By – Ollie E. Brown
Written-By – Attala Zane Giles, Phillip Ingram 4:34
B4 Starstruck
Producer, Written-By – Narada Michael Walden
Written-By – Dwayne Simmons, Preston Glass 4:28
B5 Any Way You Can
Producer, Written-By – David Pack
Written-By – Michael McDonald 4:31
Label: Qwest Records – 1-23974
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Soul
Style: Eighties Soul, Downtempo
Patti Austin's 1984 self-titled Qwest album, produced by Quincy Jones, was a strong pop/R&B effort showcasing her powerful vocals, with Billboard and Cashbox highlighting tracks like "It's Gonna Be Special" for its pop crossover appeal, though critics like Ron Wynn found it good but not her absolute best, praising its musicality and Austin's range while pointing to other Qwest records as stronger.
Quincy Jones was a major force behind the album, lending his signature polished sound. "It's Gonna Be Special" was a standout, noted for its bright sound and high-powered performance, suggesting a strong pop direction.
While successful and well-received for its musicality and Austin's vocal prowess (notably in Billboard and Cashbox reviews), some critics felt it wasn't her pinnacle work on the label.
The album blended R&B, Pop, and smooth production, typical of Qwest Records at the time, aiming for broad appeal.
In essence, it's a solid, well-produced album that solidified her place in contemporary R&B/Pop, even if some critics reserved their highest praise for other albums in her discography.