| Smooth Jazz |
Paul Brown Illuminates Smooth Jazz with “So Much to Say”: A Dazzling Return from a Master Craftsman
As the golden haze of June sunshine stretched across skies and screens alike, online spaces grew quieter, music releases flew under the radar, and our attention turned, patiently, toward something worth the wait. Now, as July awakens, we turn our focus to an artist whose mere name evokes warmth, finesse, and melody. With So Much to Say, guitar virtuoso and smooth jazz luminary Paul Brown offers us more than just a summer soundtrack, he delivers a sonic tapestry meticulously woven with decades of mastery, taste, and heart.
Paul Brown has long occupied a rarefied space in the smooth jazz world, not merely a guitarist, but an architect of sound. What sets him apart is his almost obsessive attention to the micro-details of musical arrangement. On this new album, every sonic choice feels deliberate: a barely-there keyboard layer adds an ethereal touch here, a nuanced percussion doubling catches your ear there. It’s a study in musical precision wrapped in what may, at first listen, seem like effortless grooves. But make no mistake, beneath the polished surface lies a labyrinth of sonic delights that reveal themselves with each careful listen.
Brown’s pursuit of purity and perfection is nothing new to longtime followers of his work. Whether on his solo albums or in his collaborations with icons across the jazz and R&B spectrum, he has always aimed for a sound that is both classic and daring. “Since my first CD,” Brown says, “I’ve wanted a classic jazz tone with minimal effects, surrounded by a modern R&B groove with punch and soul.” This philosophy pulses through So Much to Say, from the very first track.
That opener, the album’s title track, is a buoyant, rock-steady groove that sets the tone with airy yet assertive guitar lines. Co-written with Shane Theriot (whose credits span Hall & Oates, Branford Marsalis, and Dr. John), the track nods unmistakably to the golden era of ’70s jazz, evoking memories of George Benson’s iconic phrasing, but with a 21st-century kick. Brown, who also happens to be a passionate golfer on global circuits, chuckles as he calls it a “return” to that sound.
One of the album’s crown jewels is a reimagining of Gershwin’s Summertime, a bold, bluesy, and irresistibly funky interpretation that’s already caught ears as the first single. “I love the idea of taking a standard and reinventing it,” Brown says. “It’s hard to top a Gershwin song. The melody just leaps off the track. I hope my version brings this classic to a whole new generation.” It’s a stunning feat of both homage and innovation.
Elsewhere on the album, Brown teams again with Theriot for the exuberant “Spill Da Beans,” featuring saxophonist Darren Rahn, whose collaborations span Bob James to Kirk Franklin. The track brims with playful energy and rhythmic mischief. Jeffrey Smith contributes additional arrangements and co-wrote “Vice-Versa,” a track that blends cool sophistication with breezy spontaneity.
So Much to Say also marks a thoughtful evolution in Brown’s musical arc, following his acclaimed Promised Land and the standout project BPM, where he teamed with bassist Brian Bromberg and saxophonist Michael Paulo. That collaborative spirit continues here, as the new record enlists a roster of all-stars, Shane Theriot, Rick Braun, Jeff Ryan, Darren Rahn, and others, who help elevate each composition. Brown himself wrote or co-wrote the majority of the songs, explaining, “When I’m working on an album, I’m writing and producing every day. Sometimes the songs are meant for other artists, but lately, I’ve been keeping more for myself.”
One undeniable highlight is “My Sweet Baby,” a silky, soul-infused number that glides with honeyed melodies and flirts with joy. Brown’s guitar work here is both playful and poised, accented by subtle percussive touches that make the track sparkle. On “Play It Forward,” he links up with Rick Braun, and their dynamic interplay, trading riffs and feeding off each other’s energy, is electric.
The album winds down with “Take Me As I Am,” a sensual ballad featuring bassist Roberto Vally and pianist Leon Bisquera, known for their work with legends like Chaka Khan and Anita Baker. It’s a gentle, late-night offering that closes the album with grace and intimacy.
In a world often oversaturated with loudness and speed, So Much to Say offers the rare pleasure of music made with care, soul, and enduring craftsmanship. For listeners who find poetry in well-formed melodies and rhythmic finesse, this album will feel like a precious gem,newly unearthed, yet timeless in its glow.
Would you like a playlist of Paul Brown’s best tracks, a comparison with similar smooth jazz artists, or help analyzing his guitar technique?
Thierry De Clemensat
Member at Jazz Journalists Association
USA correspondent for Paris-Move and ABS magazine
Editor in chief – Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, July 4th 2025
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