Jazz-Pittsburgh.com Smooth Jazz Artist BiographyNorman Brown - smooth jazz grammy award winner guitarist CD Just Chillin'Visit the Pittsburgh smooth jazz news resource and restaurant directory at Jazz-Pittsburgh.com, the official Smooth Jazz event listings website and best dining guide of jazz clubs in pittsburghNorman Brown - Just Chillin' Like a tempest, guitarist Norman Brown had an impact on the smooth jazz scene that was off the scale in 1992. And in 1994, with his second album "After the Storm", Brown was all over storm-warning radar maintaining a presence on the contemporary jazz charts for more than two years. In fact, "After the Storm" garnered Brown the 1995 Jazz Album of the Year by both Gavin (publication that provides the official airplay charts for each music genre) and Soul Train. When Pittsburgh (eh-hem) had a smooth jazz radio station, it was impossible to miss his 1996 follow-up release "Better Days Ahead". The title-track set a new record--for a period of time--becoming the most-added single in smooth jazz/NAC history--and that album earned him a 1997 American Jazz Award for Contemporary Guitar!
After a successful career at Motown Jazz, Brown would debut on the mammoth Warner Bros. label with "Celebration" and this year take home a 2003 Grammy Award (Best Pop Instrumental Album) for "Just Chillin'"... Born in Shreveport Los Angeles, raised in Kansas City, Missouri, and drawn to his brother's guitar (which was eventually given to him), eight-year old Brown began honing his skills listening to Jimi Hendrix, the Isley Brothers, Kool and the Gang, and Earth, Wind, and Fire. His father--a fan of jazz guitar great Wes Montgomery--tactically convinced Brown to learn the guitar great's tunes with the reward of borrowing the car for an evening. Either Brown always had a date and needed the car, or the conditioning he received made him a Wes Montgomery fan. Brown has such an emotional expressiveness and sound in his hands with a watery technique resembling Wes Montgomery. His agility, fluid articulation, and use of octaves in his solos and melody playing have an excitement that makes you stop and listen. Other times, his playing melts into the background of a song, providing atmospheric color and depth. Brown would begin playing in local bands doing R/B, contemporary jazz, and standards--ultimately becoming serious about his guitar playing. He would make the move back to Los Angeles to study at the prestigious Guitar Institute of Technology. At that time, another major influence that Brown would append to his sound and style was Pittsburgh's own masterful guitarist and vocalist George Benson. Brown occasionally scats (sings non-sense syllables) in unison with his guitar solos and melodies. George Benson is known as the innovator to combine his vocal with his guitar lines. The role of rhythm guitar player in the local bands proved unfitting for Brown. He began developing his writing skills and building an arsenal of songs spiced with dashes of Latin, pop, R/B, and funk that would later uniquely identify his energetic, uplifting, soulful sound featuring his style and approach to composition. Brown would be signed to the MoJazz (Motown Jazz) label after Steve McKeever (now at the Michael Jordan-owned Hidden Beach label) heard him perform. His 1992 debut "Just Between Us" sold 150,000 copies. What an album! And what a line up of personnel: Gerald Albright, Kirk Whalum, Ronnie Laws, plus Stevie Wonder and Boys II Men on "Too High"! Brown's success and presence on the smooth jazz scene would grow with two more highly acclaimed, award-winning, and record breaking albums on MoJazz: "After the Storm" (1994) and "Better Days Ahead" (1996). Moving to Warner Bros., Brown released "Celebration" in 1999. Contrary to the festiveness the title might suggest, the general mood of the album is a mellow one compared to his previous high-energy albums. This album would ally Brown with Paul Brown (Boney James, Kirk Whalum, Al Jareau, and others)--one of the hottest super producers in smooth jazz. "Just Chillin'" continues the laid-back mood of "Celebration". The first track, "The Feeling I Get" is an easy-going groove that Brown's playing floats over. Jerry Hey adds a breezy horn arrangement that makes the tune flow forward. The catchy melody and infectious groove of the title-track "Just Chillin'" will have you tapping your foot, bobbing your head, and clapping your hands--yeah, it's that good. Alex Al (bass) and Lil' John Roberts (drums) create the feel-good shuffle that gets you involved. The breathy, soothing sound of Chante Moore's voice is perfect for the R/B crossover track "Feeling the Way", and it's so great to hear Michael McDonald lend his soulful vocals to the love song "I Still Believe". Once you hear "Dancing In the House", you'll want to learn to salsa (if you don't know how to already). Brown scats with his guitar on yet another addictive melody. His solos and fills showcase his diversity and chops. Yup, this one is a Jazz-Pittsburgh.com favorite! There have been many great remakes of Janet Jackson's "Let's Wait Awhile" and Brown's version will definitely count as one of them. The full, warm, and round sound of Brown's semi-hollow body guitar evokes the sweetness of this pop ballad. Other gems on "Just Chillin'" are "Won't You Stay" featuring the jazzy/R/B vocals of Debbie Nova; the sultry "In My Life" has a old-school sound to it--like an Isley Brothers vibe; and vocalist Mikki Howard liquefies the heavy R/B influenced slow jam "Not Like You Do". No wonder why "Just Chillin'" took a Grammy! From start to finish Norman Brown's playing and sound shine throughout this tasty offering of great compositions, performances, and production work. Enjoy! Find out more about Norman Brown at: www.normanbrown.com. Don't forget to sign the Jazz-Pittsburgh Guest List and receive the newsletter to stay tuned to the announcements about what’s going on when and where! Leave any comments and/or suggestions you might have in the Guest Book and spread the word by Telling a Friend! Also view:
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