by Dan LeRoyLike Gerald LeVert, D.J. Rogers Jr. is a second-generation soul man with gospel power in his pipes (his father, D.J. Rogers, was a former associate of Rev. James Cleveland and achieved some chart success in the '70s and early '80s). And like LeVert, the younger Rodgers concentrates more on his tunes than their settings, eschewing futuristic funk and retro hipness in favor of meat-and-potatoes modern R&B that just sounds good. As a result, Rogers' debut is more than just an ornate jewelry box, containing several gems worthy of the Motown name, including Wonderful, Beautiful, Amazing, a lovely duet with labelmate India.Arie, and Don't Miss the Good Stuff, where he testifies in a manner that would do his dad proud. But those tunes, and the several other standouts on Emosoul, don't stake their claim to Motown's legacy by self-consciously referencing Berry Gordy's heyday, as is so often the case. Wisely, these songs recall the past in the old-fashioned way: with melodies and grooves solid enough to build a house on, and located firmly in the here and now.