Paul Brown
The term “Renaissance Man” dates back to the time of Leonardo da Vinci, who was described as a man of “unquenchable curiosity” and “feverishly inventive imagination.” Paul Brown’s four decade journey through the worlds of pop, R&B and jazz is the modern day musical equivalent. Starting as a drummer, he became an engineer for R&B legends (Diana Ross, Luther Vandross, Aretha Franklin) before evolving into a two time Grammy winning urban jazz producer (with over 60 #1 radio airplay hits) and finally a popular guitarist, artist and performer in his own right.
In the remarkable 12 years since he released his debut album Up Front, Brown has released six albums (including three that hit the Top Ten on the Billboard Albums chart), scored countless hit singles, and done thousands of performances across the U.S. and internationally, including gigs with fellow guitarists Larry Carlton, Chris Standring and current labelmate Marc Antoine (with whom he recorded the 2009 album Foreign Exchange). And yet, as he releases One Way Back, his third collection on Woodward Avenue Records after The Funky Joint (2012) and Truth B Told (2014), Brown freely admits he is still trying to find himself as an artist.
While keeping his trademark deep funk and cool urban vibes flowing, Brown taps deeper than ever before into his lifelong blues influences, which includes a foundational passion for greats like Stevie Ray Vaughan, Eric Clapton, Buddy Guy, Little Feat and B.B. King. This edge is immediately apparent on the album’s lead single, a bold and fiery re-imagining of The Crusaders’ soul-jazz classic “Put It Where You Want It,” which he describes as a “combination of Wes Montgomery and Larry Carlton,” the latter who played on the original recording of the tune.
“Even after all these years,” he says, “I truly feel that I’m continuing to evolve as a guitarist, and I’m glad the way the genre is right now allows artists to follow the deeper passions of their musical hearts more than ever before. With each album, I feel like I’ve grown as a musician and artist, and I’m a far different player than I was when I recorded Up Front. When that came out, I had never performed a live show as a guitarist. You can practice an instrument in a room all you want, but until you play live, you don’t acquire a full level of skills. All of that gigging has helped me grow technically, and playing what I have imagined in my head is a lot easier than it used to be. The freedom and confidence I have gained from those translates to my personal development and allows me to bring fresh new ideas into the studio.”
While extending his long history of collaborations with the genre’s top saxophonists with “Sexy Thang” featuring Darren Rahn, One Way Back’s deeper musical core is a series of dynamic collaborations with top genre guitarists Chris Standring, Peter White, Marc Antoine and Chuck Loeb. While Brown’s electric is front and center as the lead melodic voice, he lets each of his peers bring his own sonic aesthetic to the mix as he “interprets inside of it.” Other highlights are the powerhouse, brass fired Memphis soul influenced “Well Alright” featuring vocalist (and former Hi Records songwriter Don Bryant) and the rich blues-drenched closer “Heaven” featuring vocals by Brown and simmering Rhodes and Hammond B-3 textures by his blues keyboardist friend with 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 the early 90s, when he produced saxophonist Boney James’ breakout debut Trust. He has since worked with many of the genre’s most influential artists, including Carlton, White, Euge Groove, Rick Braun, Kirk Whalum, Jeff Golub, Al Jarreau and Jessy J. “Winelight,” the second single from Brown’s sophomore album The City, was ranked by Mediabase as the genre’s most spun track of that year. Radio & Records and Mediabase declared “The Rhythm Method,” the first single from Brown’s third release White Sand, the most played song of 2007. The title track from Jessy J’s Brown-produced debut Tequila Moon earned the same distinction for 2008.
PAUL BROWN – “One Way Back”
When a wild force of musical nature who has two Grammys, over 60 #1 radio airplay hits for himself and other artists and seven previous hit solo albums over the past 12 years says he’s still “evolving and trying to find himself as an artist,” we best perk our ears in expectation of something bold and fresh. After all those accolades and over a thousand live performances, Paul Brown remains joyously restless – and the only place for him to go is deeper into the music that’s driven his life from the start, the blues. While his new Woodward Avenue Records release One Way Back is not a blues album per se, the guitarist’s definitely got those influences as an undercurrent throughout these eclectic ten tracks.
While a lot of attention will be paid to his impressive all-star guest list – Darren Rahn, Peter White, Chuck Loeb, Marc Antoine, Chris Standring and former Hi Records songwriter, the Wilson Pickettesque Don Bryant – Brown’s secret musical weapon here is his blues compadre with the same name, a keyboardist known as “Brother Paul Brown,” whose arsenal – including Rhodes and Hammond B-3 – simmers soulfully throughout. Also foundational is a veteran group of sideman the 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 behind Brown and his renowned guests are bassist Roberto Vally, drummer Gordon Campbell, keyboardist Marco Basci and percussion great Lenny Castro.
The jam begins with the album’s first single, a brash and brassy, deeply funky and in your face, decidedly bluesy twist on The Crusaders’ soul-jazz classic “Put It Where You Want It,” which Brown – whose fiery solo is a highlight – affectionately refers to as “Wes Montgomery meets Larry Carlton.” Brown brings the soulful coolness of decades of work with some of urban jazz’s top saxmen to “Sexy Thang,” an infectious and hypnotic, slyly slinky and “greasy” gem featuring the powerful dual punch of Brown and saxman Darren Rahn. After “Hush,” another Crusaders influenced tune featuring Brown’s crisp guitar and brassy harmonies over deep old school soul-jazz grooves, the guitarist gets into the core of the album that features collaborations with fellow urban jazz guitar luminaries Chris Standring, Peter White, Marc Antoine (now a labelmate at Woodward Avenue Records) and Chuck Loeb.
The trippy, vibey and dreamily atmospheric “Picadilly Circus” was inspired by Brown and Standring’s recent exploration of London while in town to perform dual shows at Pizza Express. It’s got Standring’s echoes and effects laden flow and a colorful swirl of his snappy acoustic and Brown’s dynamic electric guitar. Likewise, “Riverwalk” finds Brown working his way into Antoine’s laid back, groovin’ in the pocket sensual Mediterranean aesthetic. Offering a spirited retro-soul interlude between the guitarisma, “Well Alright” finds grown old schooling it Memphis style, creating a simmering, brassy Wilson Pickett/Sam & Dave vibe behind the rich vocals of former Hi Records songwriter Don Bryant (who penned the classic “I Can’t Stand The Rain”). This tune is a great showcase for the dynamic interaction between Brown and the keys of “Brother Paul Brown.”
The guitar madness continues with the lush, easy flowing “Take Flight, which” finds Brown riffing off the sensual and balmy magic of Peter White, creating the perfect intertwining of graceful acoustic sweetness and gritty electric energy. The final “guitar summit” is the whimsical, yet sophisticated bluesy jazz tune “Rear View Mirror,” which artfully blends the trademark styles of Brown (on Telecaster) and Chuck Loeb (jazz guitar) into a soulful “Larry and Wes” flavored vibe. Brown’s prowess as a melodic pop songwriter comes to fresh light on the gently flowing title track, a sensual ballad featuring hypnotic acoustic guitar harmonies behind his lead voice on the electric. Closing the eclectic collection, he showcases his deepening chops as a blues singer on the ultra-romantic, Bonnie Raitt influenced gospel blues folk tune “Heaven,” which features “Brother Paul Brown” on keys and Kenny Gradney from Little Feat on bass.
It would be easy at this point for Paul Brown to rest on his accolades and crank out some new easy flowing hits on par with the many he’s done in the past. Yet his deeper exploration of blues influences, attention to every last dynamic sonic detail, willingness to spar with his guitarist peers and desire to update a classic we all know in a fresh and wildly funky new way let us know that he’s got a lot more to say. Let’s hope the Renaissance Man of urban jazz keeps trying to “find himself as an artist” this brilliantly in the future! –
by: Jonathan Widran
https://paulbrownjazz.com/biography.html
Ones Upon A Time,
Uptown Blues, While Paul Brown has scored over 60 #1 Smooth Jazz hits for himself and as a producer of other artists, the guitarist’s musical heart has always been in the blues. His past decade of pushing the boundaries towards the ultimate powerhouse fusion of urban flavored jazz and hardcore, heartfelt blues culminates in his latest Woodward Avenue Records album UPTOWN BLUES.
One Way Back, When a wild force of musical nature who has two Grammys, over 60 #1 radio airplay hits for himself and other artists and seven previous hit solo albums over the past 12 years says he’s still “evolving and trying to find himself as an artist,” we best perk our ears in expectation of something bold and fresh. After all those accolades and over a thousand live performances, Paul Brown remains joyously restless – and the only place for him to go is deeper into the music that’s driven his life from the start, the blues. While his new Woodward Avenue Records release One Way Back is not a blues album per se, the guitarist’s definitely got those influences as an undercurrent throughout these eclectic ten tracks.
- 01. Put it Where You Want It
- 02. Sexy Thang – Featuring Darren Rahn
- 03. Hush
- 04. Piccadilly Circus – Featuring Chris Standring
- 05. River Walk – Featuring Marc Antoine
- 06. Well Alright – Featuring Don Bryant
- 07. Take Flight – Featuring Peter White
- 08. One Way Back
- 09. Rear View Mirror – Featuring Chuck Loeb
- 10. Heaven
Truth B Told, Paul Brown on his new multi-faceted Woodward Avenue Records release is pushing the envelope where few contemporary jazz artists dare to go these days. A decade into his solo career – which began with the 2004 release of Up Front and includes his 2012 Woodward Avenue collection The Funky Joint – the two time Grammy Award winner masterfully sets a high bar for his genre by digging deeper into soul and blues, playing his 1963 Gibson Johnny Smith L-5 edgier and with more abandon – and bringing the freewheeling creative spirit of bands like The Crusaders and Steely Dan into an exciting modern context.
- 01. Sunrise On Sunset
- 02. Truth B Told – Featuring Darren Rahn
- 03. Take It From Me
- 04. Love N Trush – Featuring Wendy Moten
- 05. Casablanca – Featuring Najee
- 06. Home Sweet Home – Featuring Richard Elliot
- 07. Stay Sly – Featuring Euge Groove
- 08. Till The Mornin Comes
- 09. Avalon Nights – Featuring Dave Koz
- 10. Purple Shoes – Featuring Larry Carlton
- 11. Better Late Than Never – Bonus Track
After switching to the Stratocaster on his previous album, Paul Brown returns to his trademark Gibson L-5 and engages in some of the richest, most expressive playing of his career on his sixth solo recording, the perfectly titled deeply grooving, blues and R&B intensive Woodward Avenue debut The Funky Joint. The veteran guitarist and composer complements his crisp and cool melodies and licks with harmonies and solos by many of the top artists that he has produced or played with over the years, including Boney James, Bob James, Euge Groove, Marc Antoine, Bob Baldwin and Darren Rahn. Yet whether he’s amping up or chilling out, he keeps his axe front and center as the emotional lead voice. The invitation to enter The Funky Joint begins with the mid tempo title track, which features the rising coolness of the Jerry Hey horns and cool retro atmospheres behind Brown’s crisp melody. With a classic soul-jazz vibe reminiscent of Stanley Turrentine’s classic “Sugar,” “As Clear As Day” is a wistful off the beaten path venture featuring a light funk swirl of Boney James’ sax, Brown’s electric, Antoine’s acoustic and colorful synth flute harmonies by Marco Basci. Taking us
next on a moody and sensual excursion to “Montreux,” Brown floats his easygoing lines over Basci’s simmering keys and touches of retro-soul elegance; as it heats up, the track features more playful guitar action and a shimmering Fender Rhodes solo.
On the seductive, easy swaying “Say It Like It Is,” Brown kicks it with some crunchy, shuffling percussion textures and dark toned keys before drifting into a gentle tropical vibe enhanced by the horns and elegant wordless vocals. The reflective ballad “Love Don’t Come EZ,” featuring Brown’s first lead vocal of the set, finds him complementing his lyrics about what it takes to make love work with dark guitar tones and hypnotic hand clap percussion. From easy to hard, “Tuff Times” meditates beautifully on the challenges of romance with a strumming style and sharp tone like that of Larry Carlton, backed by the horns and elegant piano harmonies of guest star Jonathan Fritzen. Brown penned the mid tempo, easy grooving “Backstage Pass” with keyboardists Bob Baldwin and Bob James, and with some crafty arrangement choices, the result is a spirited all out duet between Brown and James, with the pianist’s graceful runs playing off the easy high toned strum lines as hypnotic atmospheres color the background.
On “Ya Dig,” Brown translates the chemistry he and Rahn share onstage into a soul searching ballad; as the passion rises, both the guitar and Rahn’s sax (which is doubled on the hook) reach exciting heartfelt places. While “From the Ground Up” is billed featuring Euge Groove, Brown lays a thoughtful bluesy ballad foundation before the saxman enters and takes it to the next emotional place; Brown and Groove’s soaring bluesy fun is well worth the few minute wait. Though it’s a slight departure from the rest of the set, Brown’s closer, the powerful uplifting blues vocal tune “I Get A Feeling,” takes his artistry to a level that some of the previous simmering blues excursions only hinted at. It may come at the end, and it might surprise listeners who best know Brown for his in the pocket easy funk, but “I Get A Feeling” is clearly the emotional centerpiece of this rewarding trip to The Funky Joint.
- 01. The Funky Joint
- 02. As Clear As Day (featuring Boney James)
- 03. Montreux
- 04. Say It Like It Is
- 05. Love Don’t Come EZ
- 06. Tuff Times (featuring Jonathan Fritzen)
- 07. Backstage Pass (featuring Bob James)
- 08. Ya Dig (featuring Darren Rahn)
- 09. From The Ground Up (featuring Euge Groove)
- 10. I Get A Feeling
“Multiple Grammy-Award winning guitarist, singer and producer Paul Brown has the Midas touch. With over 50 #1 smooth jazz radio hits credit, the innovative guitar God has engineered and produced for virtually every top contemporary jazz artist during the past two decades. Brown’s talents have been summoned by such luminaries as George Benson, Patti Austin, Al Jarreau, Boney James, Luther Vandross and Kirk Whalum among countless others. Featuring Paul’s soulful vocal smash, ‘Love You Found Me,’ ‘Toast and Jam,’ ‘Sugarfish’ and more!! Paul Brown is the most prolific hit maker in the history of Smooth Jazz. -Shanachie “I’m particularly proud of this CD. I feel that it expresses my true musical self. My best yet.
- 01. Sugar Fish (Feat. Greg Adams & Jessy J.)
- 02. Toast And Jam (Feat. Jessy J.)
- 03. Strollin’ (Feat. Richard Elliot)
- 04. Love You Found Me
- 05. In The Shadows
- 06. Let Me Love You (Feat. Euge Groove)
- 07. The One You Lean On (Feat. Philippe Saisse)
- 08. Right Back At Ya (Feat. Marc Antoine)
- 09. Midnight Kiss
- 10. End Of The Day
- 11. Shine Shoes
Perfectly capturing the hopeful spirit of global cooperation that defines these challenging times, Foreign Exchange, the stylistically diverse, coolly exotic collaboration by superstar guitarists Marc Antoine and Paul Brown, is more than simply a fresh and compelling addition to their formidable solo discographies—it’s the contemporary urban jazz event of the year.
Paul Brown, one of the leading Contemporary Jazz guitarists/producers in the world, makes his stunning debut on Peak Records celebrating his intense musical foundation with an elite group of friends. “Friends” included are Al Jarreau, Boney James, Bobby Caldwell, Lina, Euge Groove, Rick Braun, Jeff Lorber, Jesse J and David Benoit.
Driven by seven powerful originals and three unique reworkings of recognizable classics, White Sand is a celebration of the great soul sounds from different eras (60’s “soul jazz” through 70’s old school and modern hip-hop) that have both influenced and informed the producer/guitarist ’s legacy as a multi-talented creative force in contemporary jazz.
Before guitarist-composer Paul Brown released his debut album Up Front, his highly successful career as a producer-engineer had earned him the industry honorarium “Babyface of Smooth Jazz”. After universal critical acclaim and months on Billboard and R & R’s Contemporary Jazz charts, Up Front made Brown a star.
Brown was guaranteed to capitalize on Up Front’s smooth jazz breakthrough with his sophomore recording, The City. Co-produced with multi-instrumentalist/digital editor D.C. and featuring some of the best musicians – Boney James, Chuck Loeb, Jerry Hey, Michael Paulo, Jeff Carruthers, Roberto Vally, Herman Jackson, Dave Hooper, Dan Higgins – on today’s scene, The City also showcases seven original tunes co-written by the guitarist.
The City opens up in with the funky and sensuous “Cosmic Monkey” featuring Jeffrey Osbourne’s slinky overdubbed harmonies. “hello Again” is Wes Montgomery-breezy soul samba. Next up is “Side Steppin’s high-spirited blast of ’80l-era disco jazz. “The City”s dreamy blend of Boney James’ soulful tenor saxophone, shvery keyboards, boogaloo congas, bluesy guitar and cognac-smooth jazz vocal follows.
“Las Vegas” is an exuberant congress of dancing guitar licks, Michael Paulo’s throaty sax and a bouncing hip-hop swing beat. “Old Friends” is a quiet fire ballad caressed by Brown and James’ tender interplay. “Winelight”s blend of Brown’s Grover Washington Jr., channeling solos and tasty club beats is complemented by the silky-smooth paraty starter “Jumpin’ Uptown”. “Food for the Moon”s cool ‘n funky hip-hop jazz groove flows into a faithful/playful voice box-juiced version of Jonny “Guitar” Watson’s “Reel Mutha For Ya”. Fittingly, the album closes with the sublime Brown/James chillout duet “The City (Instrumental)”.
The City proves beyond a doubt that Paul Brown is one of the most exciting and important guitarist in contemporary jazz.
Paul’s debut CD, Up Front features 12 Songs, a number of which were co-written by Brown, who also produced the CD. Favorite cover tunes by James Taylor, Van Morrison, Wes Montogomery and Rodgers and Hart round out the album. Guitarist Peter White, multi-instrumentalist Jeff Carruthers, bassist Roberto Vally, trumpeter Jerry Hey and digital editor D.C., join Brown throughout the CD, as do special guests Boney James (saxophone), Jeff Lorber (vibraphone), Rick Braun (trumpet), Chuck Loeb (guitar) and others; the result is nothing but spactacular.
