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| 4.089 Ft
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| 1. | The Feeling I Get
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| 2. | Just Chillin'
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| 3. | Feeling the Way
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| 4. | Night Drive
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| 5. | I Still Believe
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| 6. | Dancing in the House
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| 7. | Let's Wait a While
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| 8. | Won't You Stay
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| 9. | In My Life
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| 10. | Not Like You Do
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JUST CHILLIN' won the 2003 Grammy Award for Best Pop Instrumental Album
Jazz / Contemporary Jazz; Crossover Jazz; Smooth Jazz; Soul-Jazz
Norman Brown - Guitar, acoustic & electric guitars
Miki Howard - Vocals
Chante Moore - Vocals
Ricky Peterson - Keyboards
Bill Reichenbach - Trombone
D.O.A. - Bass, Guitar, Arranger, Keyboards, Programming, Producer
Phil Davis - Arranger, Keyb, dsProgramming
Alex Al - Bass
Pino Palladino - Bass
Pablo Batista - Percussion
Christopher Bolden - Arranger, Keyboards, Drum Programming
Rick Braun - Trumpet, Flugelhorn
Lenny Castro - Percussion
Paulinho Da Costa - Percussion
Herman Jackson - Keyboards
Tony Maiden - Guitar
James Poyser - Keyboards, Producer
Lil' John Roberts - Drums
John Jubu Smith - Guitar (Acoustic)
While not as impressive or engaging as After the Storm, Just Chillin' is a nice and mellow continuation of the work Norman Brown did on Celebration. The slick guitarist has always been good at pumping up the R&B attitude on his smooth jazz releases, and Just Chillin' is no exception. There is something more urban and gritty on these tracks than many of his instrumental pop contemporaries' albums. Maybe it's the live horn backgrounds, or his immense guitar technique that feels more substantial than the norm. In any case, about the worse thing you can say here is that the album relies a little too much on programmed drums than his earlier releases. There is also a preponderance of mid-tempo jams that could take you all the way past chillin' to full-on nappin'. No matter, "The Feeling I Get" sounds like instrumental Maxwell, and Janet Jackson's "Let's Wait Awhile" fits perfectly in Brown's overall vision to turn jazz to pop and vice versa and is easily one of the standout tracks.
---Matt Collar, All Music Guide
Norman Brown
Active Decades: '80s, '90s and '00s
Genre: Jazz
Styles: Soul-Jazz, Crossover Jazz, Smooth Jazz
Guitarist Norman Brown splashed into the soul-jazz scene in 1992 as a recording artist for MoJazz and quickly went on to win substantial acclaim, beginning with his award-winning second album, After the Storm. Both Gavin and Soul Train named it Jazz Album of the Year, and After the Storm remained on the charts for over two years. Suddenly critics drew comparisons to other astonishing jazz guitarists from the past such as George Benson and Wes Montgomery, and Brown became the toast of the soul-jazz crowd. Following the remarkable success of After the Storm, Brown continued to wow jazz listeners. His highly awaited follow-up, Better Days Ahead, didn't quite measure up to the brilliance of After the Storm, but it nonetheless won the 1997 American Jazz Award for contemporary guitar and the album's title track became the most-added single in NAC history until that point. Following his flurry of successes at MoJazz, Brown moved to Warner Bros. in 1999, where he began focusing on the evolution of his still-evolving career.
Born in Kansas City, Brown first became interested in the guitar at age eight, when he grew fond of his brother's acoustic six-string. He initially took much influence from such guitar-based acts as Jimi Hendrix and the Isley Brothers, but once he discovered one of his father's favorite guitarists, Wes Montgomery, everything changed. Rather than play, for instance, material by Earth, Wind & Fire in local bands, Brown began playing contemporary jazz tunes and standards. His increasing interest in jazz guitar led him to Los Angeles in the mid-'80s, where he studied formally at the Musician's Institute in Hollywood. Following his graduation, he taught briefly and signed to Motown's MoJazz label, where he recorded his first three albums, including the much-championed After the Storm album.
---Jason Birchmeier, All Music Guide |
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