But Whitney's talent is restored with the overwhelming "The Greatest Love of All," one of the best, most powerful songs ever written about self-preservation and dignity. From the first line (Michael Masser and Linda Creed are credited as the writers) to the last, it's a state-of-the-art ballad about believing in yourself. It's a powerful statement and one that Whitney sings with a grandeur that approaches the sublime. Its universal message crosses all boundaries and instills one with the hope that it's not too late for us to better ourselves, to act kinder. Since it's impossible in the world we live in to empathize with others, we can always empathize with ourselves. It's an important message, crucial really, and it's beautifully stated on this album.

Her second effort, Whitney (Arista, 1987), had four number one singles, "I Wanna Dance with Somebody," "So Emotional," "Didn't We Almost Have It All?" and "Where Do Broken Hearts Go?" and was mostly produced by Narada Michael Walden and though it's not as serious an effort as Whitney Houston it's hardly a victim of Sophomore Slump. It starts off with the bouncy; danceable "I Wanna Dance with Somebody (Who Loves Me)" which is in the same vein as the last album's irrepressible "How Will I Know." This is followed by the sensuous "Just the Lonely Talking Again" and it reflects the serious jazz influence that permeated the first album and one can also sense a newfound artistic maturity in Whitney's voice - she did all the vocal arrangements on this album - and this is all very evident on "Love Will Save the Day" which is the most ambitious song Whitney's yet performed. It was produced by Jellybean Benitez and it pulsates with an uptempo intensity and like most of the songs on this album it reflects a grownup's awareness of the world we all live in. She sings and we believe it. This is quite a change from the softer, little-girl-lost image that was so appealing on the first album.

She projects an even more adult image on the Michael Masser-produced "Didn't We Almost Have It All," a song about meeting up with a long-lost lover and letting him know your feelings about the past affair, and it's Whitney at her most poetic. And as on most of the ballads there's a gorgeous string arrangement. "So Emotional" is in the same vein as "How Will I Know" and "I Wanna Dance with Somebody" but it's even more rock-influenced and, like all the songs on Whitney, played by a terrific backup studio band with Narada on drum machine, Wolter Afanasieff on the synthesizer and synth bass, Corrado Rustici on synth guitar, and someone listed as Bongo Bob on percussion programming and drum sampling. "Where You Are" is the only song on the album produced by Kashif and it bears his indelible imprint of professionalism - it has a smooth, gleaming sound and sheen to it with a funky sax solo by Vincent Henry. It sounded like a hit single to me (but then all the songs on the album do) and I wondered why it wasn't released as one.

"Love Is a Contact Sport" is the album's real surprise - a big-sounding, bold, sexy number that, in terms of production, is the album's centerpiece, and it has great lyrics along with a good beat. It's one of my favorites. On "You're Still My Man" you can hear how clearly Whitney's voice is like an instrument - a flawless, warm machine that almost overpowers the sentiment of her music, but the lyrics and the melodies are too distinctive, too strong to let any singer, even one of Whitney's caliber, overshadow them. "For the Love of You" shows off Narada's brilliant drum programming capabilities and its jazzy modern feel harks back not only to purveyors of modern jazz like Michael Jackson and Sade but also to other artists, like Miles Davis, Paul Butterfield and Bobby McFerrin.

"Where Do Broken Hearts Go" is the album's most powerful emotional statement of innocence lost and trying to regain the safety of childhood. Her voice is as lovely and controlled as it ever has been and it leads up to "I Know Him So Well," the most moving moment on the record because it's first and foremost a duet with her mother, Cissy. It's a ballad about... who? - a lover shared? a long-lost father? - with a combination of longing, regret, determination and beauty that ends the album on a graceful, perfect note. We can expect new things from Whitney (she made a stunning gift to the 1988 Olympics with the ballad "One Moment in Time") but even if we didn't, she would remain the most exciting and original black jazz voice of her generation.

Dinner with Secretary

Monday night at eight o'clock. I'm in my office attempting yesterday's New York Times Sunday crossword puzzle, listening to rap music on the stereo, trying to fathom its popularity, since a little blonde hardbody I met at Au Bar two nights ago told me that rap is all she listens to, and though later I beat the living shit out of her at someone's apartment in the Dakota (she was almost decapitated; hardly a strange experience for me), earlier this morning her taste in music haunted my memory and I had to stop at Tower Records on the Upper West Side and buy ninety dollars' worth of rap CDs but, as expected, I'm at a loss: niggerish voices uttering ugly words like digit, pudding, chunk. Jean sits at her desk, which is piled high with reams of documents that I want her to go over. Today has not been bad: I worked out for two hours before the office; the new Robison Hirsch restaurant called Finna opened in Chelsea; Evelyn left two messages on my answering machine and another with Jean, letting me know that she'll be in Boston for most of the week; and best of all, The Patty Winters Show this morning was in two parts. The first was an exclusive interview with Donald Trump, the second was a report on women who've been tortured. I'm supposed to have dinner with Madison Grey and David Campion at Cafe Luxembourg, but at eight-fifteen I find out that Luis Carruthers is going to be dining with us so I call up Campion, the dumb bastard, and cancel, then spend minutes debating about what I should do with the rest of the evening. Looking out my window, I realize that within moments the sky above this city will be completely dark.