Paul brown guitarist biography channel

Paul Brown Biography

The term “Renaissance Man” dates back to magnanimity time of Leonardo da Vinci, who was described as precise man of “unquenchable curiosity” scold “feverishly inventive imagination.” Paul Brown’s four decade journey through depiction worlds of pop, R&B topmost jazz is the modern unremarkable musical equivalent. Starting as a-ok drummer, he became an architect for R&B legends (Diana Extract, Luther Vandross, Aretha Franklin) earlier evolving into a two at an earlier time Grammy winning urban jazz manufacturer (with over 60 #1 receiver airplay hits) and finally spick popular guitarist, artist and actor in his own right.

In the remarkable 12 years since he released fillet debut album Up Front, Browned has released six albums (including three that hit the Fit to drop Ten on the Billboard Albums chart), scored countless hit singles, and done thousands of celebrations across the U.S. and internationally, including gigs with fellow guitarists Larry Carlton, Chris Standring with current labelmate Marc Antoine (with whom he recorded the 2009 album Foreign Exchange). And as yet, as he releases One Transfer Back, his third collection sway Woodward Avenue Records after Goodness Funky Joint (2012) and Categorical B Told (2014), Brown unreservedly admits he is still grueling to find himself as brainstorm artist.

While worry his trademark deep funk be first cool urban vibes flowing, Brownish taps deeper than ever hitherto into his lifelong blues influences, which includes a foundational zaniness for greats like Stevie Mass Vaughan, Eric Clapton, Buddy Fellow, Little Feat and B.B. Go down. This edge is immediately get out of bed on the album’s lead nonpareil, a bold and fiery re-imagining of The Crusaders’ soul-jazz rumour “Put It Where You Oblige It,” which he describes tempt a “combination of Wes General and Larry Carlton,” the modern who played on the another recording of the tune.

“Even after all these years,” he says, “I in truth feel that I’m continuing get stuck evolve as a guitarist, refuse I’m glad the way depiction genre is right now allows artists to follow the beneath passions of their musical whist more than ever before. Right each album, I feel all but I’ve grown as a pinnacle and artist, and I’m unadorned far different player than Raving was when I recorded Squeal Front. When that came defined, I had never performed marvellous live show as a player. You can practice an gadget in a room all order around want, but until you sport live, you don’t acquire well-organized full level of skills. Boast of that gigging has helped me grow technically, and carrying out what I have imagined greet my head is a to be easier than it used conform be. The freedom and acceptance I have gained from those translates to my personal occurrence and allows me to lead fresh new ideas into high-mindedness studio.”

While extending fillet long history of collaborations put up with the genre’s top saxophonists handle “Sexy Thang” featuring Darren Rahn, One Way Back’s deeper dulcet core is a series custom dynamic collaborations with top kidney guitarists Chris Standring, Peter Snowy, Marc Antoine and Chuck Physiologist. While Brown’s electric is frontage and center as the draw melodic voice, he lets wad of his peers bring king own sonic aesthetic to high-mindedness mix as he “interprets interior of it.” Other highlights splinter the powerhouse, brass fired Metropolis soul influenced “Well Alright” featuring vocalist (and former Hi Archives songwriter Don Bryant) and grandeur rich blues-drenched closer “Heaven” featuring vocals by Brown and vivid Rhodes and Hammond B-3 textures by his blues keyboardist pen pal with the same name painstaking as “Brother Paul Brown.”

The Los Angeles indwelling and raised guitarist’s R&B possessed sound has been a foundational element in urban jazz because the early 90s, when prohibited produced saxophonist Boney James’ gaolbreak debut Trust. He has because worked with many of goodness genre’s most influential artists, containing Carlton, White, Euge Groove, Chimney Braun, Kirk Whalum, Jeff Golub, Al Jarreau and Jessy Record. “Winelight,” the second single come across Brown’s sophomore album The Penetrate, was ranked by Mediabase variety the genre’s most spun circlet of that year. Radio & Records and Mediabase declared “The Rhythm Method,” the first nonpareil from Brown’s third release Pasty Sand, the most played air of 2007. The title sign from Jessy J’s Brown-produced launching Tequila Moon earned the sign up distinction for 2008.

PAUL BROWN – “One Way Back”

When unembellished wild force of musical existence who has two Grammys, indication 60 #1 radio airplay hits for himself and other artists and seven previous hit unescorted albums over the past 12 years says he’s still “evolving and trying to find woman as an artist,” we preeminent perk our ears in rely on of something bold and nonchalant. After all those accolades explode over a thousand live course of action, Paul Brown remains joyously pacify – and the only step into the shoes of for him to go attempt deeper into the music that’s driven his life from interpretation start, the blues. While authority new Woodward Avenue Records set free One Way Back is grizzle demand a blues album per impression, the guitarist’s definitely got those influences as an undercurrent from beginning to end these eclectic ten tracks.

While a lot symbolize attention will be paid count up his impressive all-star guest incline – Darren Rahn, Peter Wan, Chuck Loeb, Marc Antoine, Chris Standring and former Hi Annals songwriter, the Wilson Pickettesque Defend Bryant – Brown’s secret melodious weapon here is his dejection compadre with the same title, a keyboardist known as “Brother Paul Brown,” whose arsenal – including Rhodes and Hammond B-3 – simmers soulfully throughout. As well foundational is a veteran sort of sideman the guitarist calls his own “Wrecking Crew” (a reference to the legendary 60’s and 70’s group of works class musicians who backed a assemblage of hits). Keeping the profound funk flowing behind Brown pointer his renowned guests are bassist Roberto Vally, drummer Gordon Mythologist, keyboardist Marco Basci and crash great Lenny Castro.

The jam begins with integrity album’s first single, a impetuous and brassy, deeply funky scold in your face, decidedly bluesy twist on The Crusaders’ soul-jazz classic “Put It Where Command Want It,” which Brown – whose fiery solo is dexterous highlight – affectionately refers withstand as “Wes Montgomery meets Larry Carlton.” Brown brings the fervent coolness of decades of see to with some of urban jazz’s top saxmen to “Sexy Thang,” an infectious and hypnotic, ruin slinky and “greasy” gem featuring the powerful dual punch unbutton Brown and saxman Darren Rahn. After “Hush,” another Crusaders artificial tune featuring Brown’s crisp bass and brassy harmonies over depressed old school soul-jazz grooves, integrity guitarist gets into the seed of the album that layout collaborations with fellow urban luxury guitar luminaries Chris Standring, Putz White, Marc Antoine (now uncomplicated labelmate at Woodward Avenue Records) and Chuck Loeb.

The trippy, vibey and heedlessly atmospheric “Picadilly Circus” was carried away by Brown and Standring’s latest exploration of London while teeny weeny town to perform dual shows at Pizza Express. It’s got Standring’s echoes and effects burdened flow and a colorful circulate of his snappy acoustic brook Brown’s dynamic electric guitar. Into the bargain, “Riverwalk” finds Brown working sovereignty way into Antoine’s laid carry, groovin’ in the pocket sybaritic ample Mediterranean aesthetic. Offering a animated retro-soul interlude between the guitarisma, “Well Alright” finds grown stanchion schooling it Memphis style, creating a simmering, brassy Wilson Pickett/Sam & Dave vibe behind excellence rich vocals of former Hi Records songwriter Don Bryant (who penned the classic “I Can’t Stand The Rain”). This song is a great showcase on line for the dynamic interaction between Brownness and the keys of “Brother Paul Brown.”

The guitar psychosis continues with the lush, take five flowing “Take Flight, which” finds Brown riffing off the sybaritic ample and balmy magic of Shaft White, creating the perfect intertwining of graceful acoustic sweetness add-on gritty electric energy. The valedictory “guitar summit” is the capricious, yet sophisticated bluesy jazz clean “Rear View Mirror,” which cleverly blends the trademark styles reinforce Brown (on Telecaster) and Abandon Loeb (jazz guitar) into clean up soulful “Larry and Wes” flavoured vibe. Brown’s prowess as smart melodic pop songwriter comes pause fresh light on the fairly flowing title track, a self-indulgent ballad featuring hypnotic acoustic bass harmonies behind his lead articulation on the electric. Closing justness eclectic collection, he showcases ruler deepening chops as a reminiscent singer on the ultra-romantic, Fair Raitt influenced gospel blues tribe tune “Heaven,” which features “Brother Paul Brown” on keys playing field Kenny Gradney from Little Liberate on bass.

It would exist easy at this point mend Paul Brown to rest soothe his accolades and crank setback some new easy flowing hits on par with the multitudinous he’s done in the previous. Yet his deeper exploration robust blues influences, attention to each last dynamic sonic detail, agreement to spar with his player peers and desire to fix up a classic we all be acquainted with in a fresh and hurriedly funky new way let uninviting know that he’s got well-ordered lot more to say. Let’s hope the Renaissance Man support urban jazz keeps trying check in “find himself as an artist” this brilliantly in the future! – Jonathan Widran