There are places throughout the world where the drum is sacred. In Cuba, Brazil, Haiti, and Africa, drums are consecrated and even worshiped. The faithful believe that spirits and gods dwell within the wood and bindings of the instrument. To a certain extent, I am one of those believers. So when I see numbers and letters (such as SPD 20) after a percussionist’s name, as opposed to “drums” or “congas,” I squint when I hit the play button.

For that reason Williams’ debut album, All Nations, made me squint. Fans of the neo-urban drum, and an electronic sound will enjoy it. The rhythms themselves are excellent, funky and smooth (a la Hancock). Many of the cuts have great jams by Clarence Johnson III on tenor sax, and the foundation of the album is solid with Chris Severin on bass.

As for Williams’ part, I was surprised that an artist that jammed with so many great New Orleans artists such as the Neville Brothers, Chocolate Milk, the Meters, and Allen Toussaint, recorded such a bland electronic album. You would think that a drummer that played with Paul McCartney, Joe Cocker, and Patti LaBelle would let it all hang out a little more, rather than trying to be so smooth! While many times debut albums are a break out, a sudden urge to musically say “this is me” and the urge is usually a scream, All Nations sticks to playing for the “smooth jazz” crowd.

Fans of the true drum, people that can’t sit still to Santamaria, Rich, or Hidalgo may want to wait until after Williams has recorded one or two albums more. Traditionalists will say it is too synthesized and the faithful will mutter that Williams’ drum is too electronic, lacking the spirits that should dwell within.