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| After the Storm |
| Norman Brown |
első megjelenés éve: 1994
60 perc |
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| (1994)
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CD |
| 4.161 Ft
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| 1. | Take Me There
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| 2. | After The Storm
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| 3. | That's The Way Love Goes
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| 4. | Any Love
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| 5. | Lydian
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| 6. | For The Love Of You
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| 7. | Trashman
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| 8. | It Costs To Love
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| 9. | Let's Come Together
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| 10. | Acoustic Time
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| 11. | El Dulce Sol
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| 12. | Family
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Jazz / Smooth Soul; Soul-Jazz; Instrumental Pop; Crossover Jazz; Contemporary Jazz
Recorded: Winsonic Process & Recording, Beverly Hills, California and Quintus Recording Studios, Hollywood, California
Norman Brown (acoustic & electric guitar, synthesizer, keyboards, programming, background vocals)
Gary Bias (alto & tenor saxophone); Raymond Brown (trumpet, flugelhorn); Reginald Young (trombone); Brian Simpson, Gail Johnson (keyboards); Herman Jackson (keyboards, piano, programming); Crayge Lindesay (guitar, programming); Tony Dumas (acoustic bass); Larry Kimpel, Freddie Washington, James Manning, George Lopez (bass); Ricky Lawson, Land Richards, Alonzo "Scooter" Powell (drums); Darryl Munyungo Jackson (percussion)
Background vocals:
Lynne Fiddmont, Lindsey Brown, Bridgette B. Bryant, Arnold McCuller, Baby Lee, De Netria Champ
In the mid-'90s, Mojazz -- the contemporary jazz imprint of Motown -- was the place to turn for the best examples of the ways funk meets more creative improvisations. Norman Brown is one of the genre's brightest lights -- a George Benson type whose stirring fluidity makes magic with an edge Benson never had. Many of the tracks on After the Storm are formulaic, mid-tempo gems, but Brown adds zest to even the most typical groove with a lightning fast style that jumps off the disc. The Janet Jackson and Luther Vandross covers are fine, but better are more unique originals like "Trashman," "Take Me There," and others that use acoustic guitar and trumpet. As solid as this stuff gets.
---Jonathan Widran, allmusic
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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