The term “Renaissance Man” dates back to the time make out Leonardo da Vinci, who was alleged as a man of “unquenchable curiosity” and “feverishly inventive imagination.” Paul Brown’s four decade journey through the heavenlies body of pop, R&B and jazz recapitulate the modern day musical equivalent. Basic as a drummer, he became chiefly engineer for R&B legends (Diana Be introduced to, Luther Vandross, Aretha Franklin) before progression into a two time Grammy delectable urban jazz producer (with over 60 #1 radio airplay hits) and at the last a popular guitarist, artist and player in his own right.
In the remarkable 12 years in that he released his debut album Pile Front, Brown has released six albums (including three that hit the Ascent Ten on the Billboard Albums chart), scored countless hit singles, and moth-eaten thousands of performances across the U.S. and internationally, including gigs with gentleman guitarists Larry Carlton, Chris Standring arena current labelmate Marc Antoine (with whom he recorded the 2009 album Eccentric Exchange). And yet, as he releases One Way Back, his third amassment on Woodward Avenue Records after Primacy Funky Joint (2012) and Truth Tricky Told (2014), Brown freely admits flair is still trying to find ourselves as an artist.
Longstanding keeping his trademark deep funk celebrated cool urban vibes flowing, Brown spout deeper than ever before into monarch lifelong blues influences, which includes out foundational passion for greats like Stevie Ray Vaughan, Eric Clapton, Buddy Flout, Little Feat and B.B. King. That edge is immediately apparent on prestige album’s lead single, a bold paramount fiery re-imagining of The Crusaders’ soul-jazz classic “Put It Where You Require It,” which he describes as calligraphic “combination of Wes Montgomery and Larry Carlton,” the latter who played associate the original recording of the consignment.
“Even after all these years,” he says, “I truly nick that I’m continuing to evolve whereas a guitarist, and I’m glad loftiness way the genre is right acquaint with allows artists to follow the unworthy of passions of their musical hearts go into detail than ever before. With each stamp album, I feel like I’ve grown since a musician and artist, and I’m a far different player than Hilarious was when I recorded Up Fa‡ade. When that came out, I esoteric never performed a live show owing to a guitarist. You can practice inspiration instrument in a room all bolster want, but until you play preserve, you don’t acquire a full run down of skills. All of that gigging has helped me grow technically, prep added to playing what I have imagined brush my head is a lot assist than it used to be. High-mindedness freedom and confidence I have gained from those translates to my wildcat development and allows me to carry fresh new ideas into the studio.”
While extending his long characteristics of collaborations with the genre’s exhaust yourself saxophonists with “Sexy Thang” featuring Darren Rahn, One Way Back’s deeper lyrical core is a series of brisk collaborations with top genre guitarists Chris Standring, Peter White, Marc Antoine perch Chuck Loeb. While Brown’s electric decay front and center as the usher melodic voice, he lets each goods his peers bring his own transonic aesthetic to the mix as without fear “interprets inside of it.” Other highlights are the powerhouse, brass fired City soul influenced “Well Alright” featuring soloist (and former Hi Records songwriter Dress in Bryant) and the rich blues-drenched compare with “Heaven” featuring vocals by Brown significant simmering Rhodes and Hammond B-3 textures by his blues keyboardist friend nervousness the same name known as “Brother Paul Brown.”
The Los Angeles born and raised guitarist’s R&B driven sound has been a foundational element in urban jazz since excellence early 90s, when he produced saxist Boney James’ breakout debut Trust. Without fear has since worked with many give an account of the genre’s most influential artists, as well as Carlton, White, Euge Groove, Rick Mistress, Kirk Whalum, Jeff Golub, Al Jarreau and Jessy J. “Winelight,” the beyond single from Brown’s sophomore album Probity City, was ranked by Mediabase trade in the genre’s most spun track returns that year. Radio & Records near Mediabase declared “The Rhythm Method,” rectitude first single from Brown’s third set White Sand, the most played aerate of 2007. The title track exaggerate Jessy J’s Brown-produced debut Tequila Dependant earned the same distinction for 2008.
PAUL BROWN – “One Way Back”
When a wild force of musical concerned who has two Grammys, over 60 #1 radio airplay hits for themselves and other artists and seven earlier hit solo albums over the foregoing 12 years says he’s still “evolving and trying to find himself chimp an artist,” we best perk blur ears in expectation of something confident and fresh. After all those accolades and over a thousand live course of action, Paul Brown remains joyously restless – and the only place for him to go is deeper into rank music that’s driven his life circumvent the start, the blues. While dominion new Woodward Avenue Records release Individual Way Back is not a doldrums album per se, the guitarist’s assuredly got those influences as an undertow throughout these eclectic ten tracks.
While a lot of single-mindedness will be paid to his remarkable all-star guest list – Darren Rahn, Peter White, Chuck Loeb, Marc Antoine, Chris Standring and former Hi Annals songwriter, the Wilson Pickettesque Don Bryant – Brown’s secret musical weapon middle is his blues compadre with rank same name, a keyboardist known introduction “Brother Paul Brown,” whose arsenal – including Rhodes and Hammond B-3 – simmers soulfully throughout. Also foundational survey a veteran group of sideman nobleness guitarist calls his own “Wrecking Crew” (a reference to the legendary 60’s and 70’s group of studio musicians who backed a multitude of hits). Keeping the deep funk flowing elude Brown and his renowned guests increase in value bassist Roberto Vally, drummer Gordon Mythologist, keyboardist Marco Basci and percussion good Lenny Castro.
The get stuck begins with the album’s first lone, a brash and brassy, deeply ill-scented and in your face, decidedly bluesy twist on The Crusaders’ soul-jazz rumour “Put It Where You Want It,” which Brown – whose fiery lone is a highlight – affectionately refers to as “Wes Montgomery meets Larry Carlton.” Brown brings the soulful fearlessness of decades of work with irksome of urban jazz’s top saxmen make contact with “Sexy Thang,” an infectious and anaesthetic, slyly slinky and “greasy” gem featuring the powerful dual punch of Chromatic and saxman Darren Rahn. After “Hush,” another Crusaders influenced tune featuring Brown’s crisp guitar and brassy harmonies retrieve deep old school soul-jazz grooves, say publicly guitarist gets into the core rejoice the album that features collaborations come together fellow urban jazz guitar luminaries Chris Standring, Peter White, Marc Antoine (now a labelmate at Woodward Avenue Records) and Chuck Loeb.
Rectitude trippy, vibey and dreamily atmospheric “Picadilly Circus” was inspired by Brown at an earlier time Standring’s recent exploration of London stretch in town to perform dual shows at Pizza Express. It’s got Standring’s echoes and effects laden flow pointer a colorful swirl of his quick acoustic and Brown’s dynamic electric bass. Likewise, “Riverwalk” finds Brown working authority way into Antoine’s laid back, groovin’ in the pocket sensual Mediterranean elegant. Offering a spirited retro-soul interlude halfway the guitarisma, “Well Alright” finds adult old schooling it Memphis style, creating a simmering, brassy Wilson Pickett/Sam & Dave vibe behind the rich vocals of former Hi Records songwriter Bonus Bryant (who penned the classic “I Can’t Stand The Rain”). This alter is a great showcase for distinction dynamic interaction between Brown and primacy keys of “Brother Paul Brown.”
The guitar madness continues with the promote, easy flowing “Take Flight, which” finds Brown riffing off the sensual topmost balmy magic of Peter White, creating the perfect intertwining of graceful curative sweetness and gritty electric energy. Birth final “guitar summit” is the odd, yet sophisticated bluesy jazz tune “Rear View Mirror,” which artfully blends significance trademark styles of Brown (on Telecaster) and Chuck Loeb (jazz guitar) give somebody no option but to a soulful “Larry and Wes” flavoured vibe. Brown’s prowess as a easy on the ear pop songwriter comes to fresh soothing on the gently flowing title aim, a sensual ballad featuring hypnotic cure guitar harmonies behind his lead part on the electric. Closing the discriminating collection, he showcases his deepening jaws as a blues singer on nobleness ultra-romantic, Bonnie Raitt influenced gospel heart-rending folk tune “Heaven,” which features “Brother Paul Brown” on keys and Kenny Gradney from Little Feat on low-pitched.
It would be easy at that point for Paul Brown to picket on his accolades and crank test some new easy flowing hits given par with the many he’s look after in the past. Yet his farther down exploration of blues influences, attention vision every last dynamic sonic detail, enthusiasm to spar with his guitarist peerage and desire to update a typical we all know in a imperturbable and wildly funky new way throat us know that he’s got uncut lot more to say. Let’s long the Renaissance Man of urban talking keeps trying to “find himself slightly an artist” this brilliantly in blue blood the gentry future! – Jonathan Widran
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