Norman Brown - After The Storm (1994)

An hour of vintage '90s smooth jazz that sounds as good today as it did 23 years ago. (To be honest, the genre hasn't changed much in a long while, a fact that doesn't bother me much.) Brown is an excellent writer and guitarist and his skills are showcased well in these 12 tracks. If the local radio station isn't playing any Norman Brown during its Sunday morning "Jazz Brunch" broadcast, find a new station.

CashBox, June 18, 1994, p. 13

Album chart peaks:

• US Billboard 200: #140
• Billboard R&B: #21
• Billboard Contemporary Jazz: #2

Tracks: A good album from top to bottom - don't miss any tracks, even the track where Brown sings (It Costs To Love) ain't bad. The most recognizable cut to my ears is the cover of the Isley Brothers' For The Love Of You; there's also nice covers of Luther Vandross' Any Love and Janet Jackson's That's The Way Love Goes; the latter was released as a single. My other picks today are Take Me There, Let's Come Together, and El Dulce Sol.

Personal Memory Associated with this CD: None

Previously revisited for the blog:
West Coast Coolin' (2004)
Groovin' (2002) (with BWB)
Celebration (1999)

BWB - Groovin' (2002)

BWB is a a smooth jazz "supergroup" in the same vein as Fourplay and Urban Knights. We're treated to Rick Braun on trumpet, Kirk Whalum on saxophone, and Norman Brown on guitar - there's also Christian McBride on bass, but for some reason he didn't rate a title credit. This is a covers album that offers up versions of tunes from a varied array of artists from D'Angelo to Leiber & Stoller to Joe Zawinul to George Clinton. Good stuff; definitely above average smooth jazz (I'm particularly fond of Brown's soloing). I'm guessing the trio originally envisioned this as a one-off covers album because they didn't release another album for 11 years, but I could be wrong.

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Contemporary Jazz: #4

Tracks: My favorites are Groovin', Ruby Baby, the slow burn of Mercy Mercy Mercy, and It's Your Thing. I don't care much for the plodding cover of Alicia Key's A Woman's Worth.

This was released as an "Enchanced CD" and, amazingly, I was able to get it to play with a few work-arounds:

Contents: links to websites, a small photo gallery, and a 10 minute promo video.

Personal Memory Associated with this CD: None

Previously revisited for the blog:

Rick Braun:
Shake It Up (2000)
Body And Soul (1997)
Beat Street (1995)

Kirk Whalum:
The Babyface Songbook (2005)
Unconditional (2000)
Floppy Disk (1985)

Norman Brown:
West Coast Coolin' (2004)
Celebration (1999)

Norman Brown - West Coast Coolin' (2004)

GEOGRAPHY WEEK (JANUARY 8-14, 2012)

Not a bad urban jazz CD, but certainly not a great one. More than half of the tunes have Brown's vocals on them and I find myself thinking, "Shut up 'n play yer guitar" (apologies to Frank Zappa). The vocal tracks are an obvious attempt at getting radio play, so are more neo-soul than jazz. Brown does much better when he's getting in touch with his inner George Benson because when he plays guitar, it's fantastic. However, I recommend listening to the samples before purchasing this one (I'm looking at you, Krista).

Peak on the US Billboard Top 200 chart: #160

Tracks: The album gets off to a bad start with the first track, but quickly redeems itself with Up 'N' At 'Em and the title track. Jerry Hey makes a tasty contribution to Missin' You on flügelhorn. For the most part, the instrumental tracks are better than the vocal tracks, but a few of the vocal tracks are good including Let's Play, Right Now, and the cover of What's Going On. Skip the tracks Angel and Come Over.

Personal Memory Associated with this CD: This music has kept me company in my office more times than I could count.

Previously revisited for the blog:
Celebration (1999)

Norman Brown - Celebration (1999)

Brown is an urban jazz guitarist/vocalist with a sound similar to George Benson's. You've heard his music on the Weather Channel. (Is that a compliment or an insult?) He's got a good tone and he's a pretty good writer, so that puts him ahead of many artists in the field. One thing I've noticed that distinguishes him from most guitarists is that, when he solos, he uses the full range of the instrument, not just the upper register.

Album chart peaks:

• US Billboard 200: Did not chart
• Billboard Contemporary Jazz: #2

Tracks: For smooth background music, all the tracks serve their purpose well. There's a unnecessary cover of The Stylistic's You Make Me Feel Brand New which adds nothing to the soulful original. The beautiful ballad Rain is almost ruined by the unusual, distracting electronic percussion track. Still, there aren't any tracks that I want to skip. In fact, I'm usually pleased when a Norman Brown cut comes up during an iTunes shuffle on the work computer.

Personal Memory Associated with this CD: I bought this used at the Hastings in Nac not long after moving. It most likely provided background music while I finished up my dissertation in '06.