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After The Storm

Norman Brown

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Album Review

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.

Biography

Born: 18 December 1970 in Kansas City, MO

Genre: Jazz

Years Active: '90s, '00s, '10s

Guitarist Norman Brown splashed into the soul-jazz scene in 1992 as a recording artist for Mo Jazz 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...
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After The Storm, Norman Brown
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