New York Rock And Soul Revue 1991 A Shared Stage of Songwriters and Soul Voices
In 1991 the New York Rock And Soul Revue brought together a group of established American artists whose careers had helped define the sound of sophisticated pop and rhythm and blues across the previous two decades. A video digest from that period presents a combination of short interview clips and partial live performances featuring Donald Fagen, Michael McDonald, Boz Scaggs and Phoebe Snow, each reflecting on their role within the collective project.
The New York Rock And Soul Revue was co founded by Donald Fagen, widely recognized as a principal creative force behind Steely Dan. Conceived as a touring ensemble rather than a conventional band, the project focused on celebrating classic rhythm and blues, soul, and jazz influenced pop. The repertoire typically included vintage material alongside songs associated with the participating artists. The 1991 footage captures the spirit of that concept through both performance excerpts and direct commentary.
Donald Fagen speaks in the clips about the appeal of revisiting foundational American music in a collaborative environment. His comments emphasize respect for the tradition of rhythm and blues and the value of presenting it with musicians who share a similar musical vocabulary. Rather than positioning the revue as a nostalgia act, Fagen frames it as a living continuation of styles that shaped his own songwriting.
Michael McDonald, known for his distinctive blue eyed soul voice and songwriting work, describes the experience as an opportunity to connect with peers who understand the nuances of the genre. His perspective highlights the communal aspect of the project, where individual identities remain intact while contributing to a larger musical conversation.
Boz Scaggs adds insight from the standpoint of a guitarist and vocalist long associated with smooth soul influenced rock. His remarks underline the craftsmanship involved in performing this repertoire, particularly the importance of groove and ensemble discipline. Phoebe Snow, whose career bridged folk, blues and gospel traditions, brings another dimension. In her comments she acknowledges the project as a space where stylistic boundaries are less rigid, allowing artists to draw from overlapping influences.
The partial performance segments reinforce the interviews. The arrangements are polished yet relaxed, emphasizing musicianship over spectacle. The ensemble format encourages interplay rather than spotlight driven presentation.
Taken together, the 1991 digest offers a concise but valuable record of the New York Rock And Soul Revue at work. It documents a moment when accomplished artists chose collaboration over competition, united by a shared respect for American soul based music and a commitment to presenting it with clarity and authenticity.