This is really easy to figure out. The uncle is paying for his favorite nephew to cut a record. His money, his say. If the band was paying, they could ignore everybody's advice and make all the decisions. As a label owner, its also his say as to who he offers a record contract to--a band or an individual artist. The only thing to be concerned about is to protect the performers and writers rights.    

Thanks to everyone. Very good advises so far.

My point has always been that this guy is managing everything to his favor and has not given us a fair try. He thinks we have no or very limited recording experience, which is my situation, but our bass player has recorded on almost every major studio in PR - TV & radio ads, jingles, demos, soloist singer projects (both secular and Christian); something this guy ignores because he didn't even asked. He simply wants to do it his way or no way.

Is what you'll gain from the recording worth it?  After all, you might be disappointed, but you're not really losing anything by letting your singer record a solo album, are you?

We don't have bass player anymore, or that's what I understand.

I talked to "our" singer on Saturday (his BD) and our bass player called him just before me. He congratulated Tony (our singer) and asked how was going everything with the recording and when was he scheduled. Tony told him that his tracks were already done by someone else the day before, to what he responded "so you don't have a band" and hanged the phone.

If I get the road manager gig, he will be my first call for bass. He was also our back-up vocalist for choruses and lead in some covers. I'll make him the best offer possible.

I'm also pushing Tony to hurry on the registration/incorporation of the band. I know that things will be smoother as soon as we get control over that. Tony is not a businessman. He is also very emotional. I know I can manage all this to end as frictionless as possible.

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I received an email from a guy inviting me to join a band. He seems to be the guitarist and leader of the project, which is composed of members of some very respect broken bands in our local scene.

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To be harsh, it sounds like the singer has already made up his mind to do whatever it takes to get a record made, and that includes dumping his band.

All I can say is if you co-wrote any of the material get it in writting. After that suck it up and move on. Personally I couldn't take the road manager stint. Has the distinct aroma of a buy out, and I would feel like I was "giving it" to the other band members.

You gotta do what's right for you, but that's my cent and a half worth.

Okay, I'll pipe up, even though I have almost no professional experience. 

This whole saga sounds like pretty typical and quite reasonable music business practice.  It sounds like you've allowed Business to mutate into Politics.  I agree with those who make a distinction between studio work and live work.  They are two very different disciplines, and while you may be a great studio drummer, the powers that be in this situation don't know that and they don't care.  Time and money is of the essence, and they are going to go with the proven commmodity.

You may have been a band for a little while, but maybe not.  If you haven't played in front of an audience much, then I suspect that you weren't, because a band is forged on stage, not in the practice space.  If you can make peace with your role as a hired gun for live performance, and the "road manager" gig, then you may be able to turn this into other opportunities.  Once this project is off the launching pad, you'll be able to network and make contacts with other musicians, club owners, booking agents, A&R folk, etc.  Personally, I would jump at the chance to perform in any capacity with a professional act.  It's all about building your resume and growing as a musician and expanding your skill set.  Think about it.

Slim